INTERVIEW: Harry Heart

INTERVIEW:

Harry Heart

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THE brilliant Harry Heart…

has been discussing his new E.P., First Endorphin, and the themes that inspired it. The Walthamstow-born artist talks about his move to Sydney and the differences in terms of music; what sort of sounds he is inspired by – Heart recommends some artists to follow.

I ask whether there are any gigs coming up; which albums are most important to him; how the songwriter spends his time away from music – he ends the interview by selecting a great tune.

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Hi, Harry. How are you? How has your week been?

I just wrapped up a game of Frisbee and I've got a cup of tea and a Jamie xx playlist on the go; so the week's going pretty well, thank you.

For those new to your music; can you introduce yourself, please?

My name's Harry Heart. I'm a musician from Walthamstow and I live in Sydney, Australia. I write Alternative-Rock songs and acoustic songs; sometimes performing by myself and sometimes with my wonderful five-piece band, affectionately known as The Harry Heart Chrysalis.

First Endorphin is new. Are there particular themes and ideas that inspired the E.P.?

If I really look for a common thread in the songs, they all seem to be getting at the idea of self-betterment. Some are about bitterness, some about frustration…but the idea of writing those songs is to look at what's going on in your life from the third-person perspective and try and rectify it. First Endorphin really means the first time I truly welcomed happiness.

You were born in Walthamstow but are based in Sydney. How did you come to end up there? Is Sydney the Walthamstow of Australia?

My family moved out to Australia some years ago. we were lucky to have the chance to try life on the other side of the world. Sydney's definitely not the Walthamstow of Australia but, interestingly, 'the chav' has just arrived in Australia in 2018, TNs and everything.

What are the main differences in terms of music and vibes? Are there good local artists around?

Australia's very driven by Garage/Surf-Rock, Indie-Pop and Electronic music at the moment. I think the U.K. still pays more attention to innovation rather than styles and genres; Bakar comes to mind. My favourite AU artists at the moment would have to be Jaala and Mildlife. 

In terms of music; who do you count as idols and influences?

My big ones would have to be Jack White, Youth Group; Fionn Regan and Kanye West. I love artists that aren't scared to try something new with each record. Or, maybe they are scared but they don't let that stop them from putting it out.

What do you hope to achieve by the end of 2018?

Two Australian tours finished, one showcase at Australian Music Week; a U.K. tour up our sleeves, one E.P. finally released and the next record ready to go for 2019. Love a plan.

Have you got a favourite memory from your time in music so far – the one that sticks in the mind?

I remember very clearly playing a show in a place called Townsville on the northeast coast of Australia in the band Arcade Made when we were about fifteen-years-old. The sheer terror of playing a real show that wasn't a house-party was electrifying. It was an introduction to a career as a musician and I bloody loved it.

Which three albums mean the most to you would you say (and why)?

Gorillaz - Demon Days 

This is a big one for me. It's so diverse and engaging; a very progressive album with immaculate production.

Interpol - Antics 

This album has a set style, lots of reoccurring guitar tones and songs in the same key - and the result is that the slight differences between songs feel enormous. Incredible imaginative lyrics from start to finish too.

Fionn Regan - The End of History 

This album taught me how to write lyrics and avoid being lazy in writing music. It's so emotive and original. I wish there were more acoustic records of this calibre.

If you could support any musician alive today, and choose your own rider, what would that entail?

I'd support Townes Van Zandt. Any rider's a good rider.

Might we see some tour dates coming up? Where might we be able to catch you play?

I'm touring Australia in September by myself; then again in October with the band. Tour dates at https://www.harryheart.com/. Stay tuned for U.K. dates in early-2019; it's well overdue.

What advice would you give to new artists coming through?

Get a good team around you; don't limit your creativity and make sure you're excited by what you’re doing.

 IN THIS PHOTO: Mildlife

Are there any new artists you recommend we check out?

Bakar, Mildlife; Julian Wa, Kojaque; Emma Louise…that's a start.

 IN THIS PHOTO: Kojaque/PHOTO CREDIT: George Voronov

Do you get much time to chill away from music? How do you unwind?

Studios are pretty nocturnal places so I get outdoors as often as possible. Love a good swim at the beach, a nice coffee; a book, a chinwag - all the good stuff.

Finally, and for being a good sport; you can choose a song and I’ll play it here (not any of your music - I will do that).

Erykah Badu – I’ll Call U Back

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Follow Harry Heart

Official:

https://www.harryheart.com/

Twitter:

https://twitter.com/harryheartau

Facebook:

https://www.facebook.com/harryheartau/

SoundCloud:

https://soundcloud.com/theharryheartchrysalis

Instagram:

https://www.instagram.com/harryheartau/

YouTube:

https://www.youtube.com/user/AUHarryHeart

Bandcamp:

https://harryheartau.bandcamp.com/

INTERVIEW: JDA

INTERVIEW:

JDA

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WITH her single, Sublime, hot off of the press…

I have been speaking with JDA about its story and how she will follow it up. The songwriter discusses her D.I.Y. approach to music and whether she is more inspired by sounds of the past or what is happening in music right now.

I was keen to know whether there were albums important to her; which rising musicians we need to throw some love towards; whether there are tour dates coming up – JDA tells me how she unwinds away from music.

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Hi, JDA. How are you? How has your week been?

Hey. I’m great, thanks! How are you? It’s been a busy week! I enjoy being busy so can’t complain.

For those new to your music; can you introduce yourself, please?

Of course! I’m JDA; a London-based producer; singer-songwriter. I would describe my music as dark, ambient Trip-Hop – although, I always struggle what to describe it as. Haha. 

Sublime is your latest track. What is the story behind the song?

It’s about being with someone knowing full well you’re not the only one. But you can’t walk away for whatever reason.

Do you think there might be more music coming next year?

There will, 100%, be more music coming next year! Hopefully a bigger project for 2019.

You are a D.I.Y. artist who takes care of everything. Do you think it is important to have control of all your creative processes?

Personally, I like to have control over my music. It can be hard to translate what you hear in your head or your vision for your music, so being a D.I.Y. artist makes that process a lot easier.

In terms of music; who do you count as idols and influences? 

I look up to artists who aren’t afraid of making music they love: James Blake, Tyler, the Creator; Sabrina Claudio. In terms of influences, I grew up around a lot of old Soul and Disco: Stevie Wonder, Otis Redding; George Benson etc. They have defiantly shaped the music I make and listen to today

Do you tend to get inspired by modern artists and what is happening in music now?

I really do. I take a lot of time to listen to new music. As important as it is to stick to what comes most natural to you, I always find it pivotal to listen to modern music and the new trends that follow. I’m always listening to new tracks buzzing to get home and make my own stuff.

What do you hope to achieve by the end of 2018?

As it’s my first year of releasing music, I want to leave 2018 having built some exposure, found new listeners; got some radioplay and to have set myself up for more opportunities.

Have you got a favourite memory from your time in music so far – the one that sticks in the mind?

My favourite memory so far was hearing my song on the radio for the first time. My first single was played on Reprezent radio and I will never forget that feeling.

Which three albums mean the most to you would you say (and why)? 

Ahh...that’s such a hard question. I have so many albums, old and new, that I listen to on-repeat. But, I would have to say…

Overgrown - James Blake

This album is STUNNING! I feel like Blake really mastered his sound; his vocals matched the incredible production and there isn’t one song on this album I would skip.

Yeezus - Kanye West

I am a big Kanye fan. This came out when I first started producing so I just remember being stunned at the sound he had created. I also watched the listening party from Madison Square in the cinema so this album holds a lot of sentimental value as well.

Voodoo - D’Angleo

I have always loved this album from the first moment my friend played it to me. D’Angelo forever creates such a groovy, soulful vibe. This album has some real classics throughout and it shaped a lot of what I listened to in the early-2000s.

If you could support any musician alive today, and choose your own rider, what would that entail?

H.E.R! I went to see her live and was BLOWN away; singing at the top of my lungs in the audience. I love the intimate atmosphere she creates. I think we would be a good match. 

My rider would be…erm…defiantly some snacks; Chilli Heatwave Doritos with some dips. Some G&Ts for after cause I cannot drink and sing for the life of me. That’s probably it to be honest.

Might we see some tour dates coming up? Where might we be able to catch you play?

No live dates, yet. Hopefully, I will have a few before the end of the year so keep your eyes on my socials for updates. However, I am going into the BBC Introducing South live lounge on the 26th Sept., so tune in to that!

What advice would you give to new artists coming through?

No one does you better than you, so stick to it.

 IN THIS PHOTO: ARUN

Are there any new artists you recommend we check out?

Yes! ARUN. A mega-talented all-rounder. His E.P., Dark Honey, is about to drop and I cannot contain my excitement!

Veda Black. This girl’s single has been one of my most-played songs of 2018. She only has big things waiting for her.

 IN THIS PHOTO: Veda Black/PHOTO CREDIT: Chiara//Nomorning

Do you get much time to chill away from music? How do you unwind?

Juggling music and a full-time job is hard, so I don’t have much time to relax. When I do, it’s always with friends, my boyfriend or my family. I like to work out, hang out; eat and watch some trash T.V. on Netflix.

Finally, and for being a good sport; you can choose a song and I’ll play it here (not any of your music - I will do that).

Sabrina Claudio - Stand Still. I have this on-repeat A LOT! 

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Follow JDA

Twitter:

https://twitter.com/jdaofficial

Facebook:

https://www.facebook.com/JDAMUSICOFFICIAL/

SoundCloud:

https://soundcloud.com/j-d-aa

Instagram:

https://www.instagram.com/jda_official_/

INTERVIEW: Kelsey of Blak Emoji

INTERVIEW:

PHOTO CREDIT: Kevin Condon

Kelsey of Blak Emoji

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THE awesome Kelsey from Blak Emoji…

PHOTO CREDIT: Kevin Condon

has been telling me about the band’s new single, Lust Above Love, and whether more material is coming next year. He tells me how the band got together and what sort of music he is guided by – Kelsey recommends a few rising artists that are worth some time and energy.

Kesley reveals Blak Emoji tour plans and which one album means the most to him; if he gets time to chill away from music; how important New York is to him regarding sound and direction – he ends the interview by selecting a great track.

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Hi, Kelsey. How are you? How has your week been?

What up, Sam? Good but crazy-busy!

For those new to your music; can you introduce yourselves, please?

Sure. We’re from N.Y.C. Blak Emoji is a band and/or myself (laughs) - kind of like a Trent Reznor N.I.N. thing. Been around a few years; first single dropped in 2016 and our debut E.P. called INTRO came out last year. Our sound falls in the genres of Electro-Pop, Alt-Pop-Rock and R&B. Someone once called us ‘Blacktronica’ which I thought was pretty awesome.

Lust Love Above is your latest single. Is there a story behind the song?

The groove came about when I was creating ideas on my laptop via GaragBand. I thought the beat sounded kind of sexy; had a cool minimalist vibe. So, the lyrics naturally had to fit that style. It’s just a song about wanting to please your lover; an ode to connection.

How did Blak Emoji start life? When did the band get together?

I previously fronted a Heavy-Rock band for years in N.Y. and was just growing tired of it. Lot of ups and downs. Mentally and sonically, I felt stifled; like I put myself in a straitjacket. So, I decided to end it but, while that was happening, I was spending studio time alone making these Dance songs and more Dance-Rock stuff just for the sake of doing it - wasn’t planning on starting a new band or releasing anything. I just wanted to make music in a different light without pressure. This was around the end of 2015. A few songs took shape and it was like: ‘I think I have a new project’. Early-2016 it went public with our first single, Sapiosexual.

After that, I was really missing playing live so I started a new group. I saw Max play drums at a local downtown club and was immediately hooked! I knew Sylvana in a roundabout way via musicians in the scene. We met and played one time and it was just the perfect connection. Max recommended Bryan after we had a few bass players and he fit like a glove after one rehearsal.

PHOTO CREDIT: Nicole Brody

Do you feel there will be more material next year?

Definitely! We have a new album called KUMI that’s recorded and finished. We’re actually doing a little sneak preview of it for our N.Y.C. fans and core followers this weekend but releasing it officially on major music platforms - Apple, Spotify and all that - early next year. 

In terms of musical inspiration; what sort of music were you raised on?

I was raised on so many styles which shaped my whole musical being. Lots of classic R&B, Funk and Soul in the family. My brother got me into a lot of Rock, Alternative and Jazz while my sister introduced me to quite a bit of Pop. After that, it was Punk, Metal; Hip-Hop, Electronic; Minimalist Classical…anything that moved me. I’m a true fan and always will be. I believe that’s the key to being a well versatile musician. And it’s fun.

New York is where you are based. How important is the city regarding your passion and work?

New York slowly became a backdrop and/or inspiration to quite a bit of my songs after moving here. Almost like a (Martin) Scorsese or Spike Lee film where it’s always lingering in the vibe of their work. It’s inspiring, the good times and bad times here.

PHOTO CREDIT: Kevin Condon

What do you hope to achieve by the end of 2018?

We’re releasing a few more singles from KUMI so I hope people enjoy them and they get the recognition. I also want to continue producing other artists as much as possible for their projects before the year closes. Doing a few remixes here and there too.  

Have you got a favourite memory from your time in music so far – the one that sticks in the mind?

Hmm. I remember being in Tel Aviv early-2017 and watching the impact of the band grow online out of nowhere from a few positive write-ups. It was interesting watching far away from the outside looking in for a change. In less than a week, I was back in N.Y.C. playing to this huge audience at Irving Plaza for our E.P. release. I have so many memories watching bands that inspired me play that venue. So, to celebrate the release of our first E.P., there was a beautiful moment. Definitely a fun memory.

Which one album means the most to you would you say (and why)?

Aw, man, that’s a tough one. Off the dome, I’d say Prince’s Sign o’ the Times because it’s so all over the place yet focused at the same time. It’s just the most enjoyable Avant-Pop trip you can take. To this day, I’m blown away by the songs on that album and how influential it is to myself and artists I highly respect. The lyrics, the songs; the Funk, the Rock; the Avant tracks like Dorothy Parker. Pop genius.

It goes back and forth with Purple Rain for me depending on the year.

PHOTO CREDIT: Nicole Brody

If you could support any musician alive today, and choose your own rider, what would that entail?

Nine Inch Nails! I wouldn’t even care about the rider so much…  

Might we see some tour dates coming up? Where might we be able to catch you play?

Early next year, yes, in March. We’ll be doing a few sporadic N.Y.C. and regional dates until then.

What advice would you give to new artists coming through?

Keep moving forward, even if you start to feel comfortable or complacent. And trust your instinct as much as possible.

 IN THIS PHOTO: Whitney Tai

Are there any new artists you recommend we check out?

Yes. There’s a pop artist in L.A.; singer/songwriter Whitney Tai who is the real deal! We collaborate together with a project called BlakTai too but definitely check her music out. There’s also a Metal band with serious low-end from Brooklyn called Netherlands. They’re amazeballs! Ho99o9 are this Electro-Punk trio from Jersey. Live, they’re incredible; crazy energy. Oh, yeah, and Karolina Rose; an Electro-Pop artist in N.Y.C. is about to release a new E.P. I dig her stuff. Max and Bryan play with her live sometimes too.

 IN THIS PHOTO: Karolina Rose

Do you all get much time to chill away from music? How do you unwind?

YouTube rabbit holes; Netflix, dancing; hanging with my daughter...few of my favorite things. I like sleep, too.

Finally, and for being a good sport; you can choose a song and I’ll play it here (not any of your music - I will do that).

Low’s Disarray from Double Negative is playing in my headphones now

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Follow Blak Emoji

PHOTO CREDIT: Kevin Condon

Official:

http://www.blakemoji.com/

Twitter:

https://twitter.com/BlakEmoji

Facebook:

https://www.facebook.com/blakemoji/

SoundCloud:

https://soundcloud.com/blakemoji

YouTube:

https://www.youtube.com/channel/UCxyQJsgMrdWupF7tXJ2puGA

Instagram:

https://www.instagram.com/blak.emoji/

INTERVIEW: James Cramer

INTERVIEW:

James Cramer

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I have been chatting with James Cramer….

about his latest track, Let Me Do Good, and why he decided to shoot the video in Mexico City. I ask what sort of sounds inspires him and whether there is more material coming later this year – he recommends an upcoming artist to follow.

Cramer discusses his touring plans and what he hopes to achieve before the end of the year; what approaching musicians should remember; how he unwinds from music – he ends the interview by selecting a great song.

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Hi, James. How are you? How has your week been?

I'm sweet. I'm just back from Norway where I was writing and recording songs for my album. An inspiring place with very cool people. 

For those new to your music; can you introduce yourself, please?

My name is James Cramer. I'm a singer-songwriter from Dublin. 

Let Me Do Good is your debut single. What is the story behind the song?

Now, that would be telling! It's a mixture of a lot of things and people I observe up-close or from far away - and I lay it all out for people to make their own mind up on this one. I do not do this all the time but this song is a special one so I don't want to ruin it for you!

Was it cool shooting the video in Mexico City? Was there a reason for locating there?

Yes. It was very cool. The idea came about whilst myself and my manager were having coffee and we started coming up with places and scenes where we would love it to be set. The guys did a beautiful job. It's visually stunning and gives the audience a challenging contrast of the song. It's a cinematic piece so where better than Mexico City in all its glory would capture that. 

Is there going to be more material coming next year?

Yes. We will have another single out. We are going song-by-song at the moment. The album is nearly finished but I'm always writing and exploring musically. Sometimes it’s good, sometimes it doesn't work out…but it's all part of the ride. 

Who do you rank as music idols and inspirations? Did you grow up around a lot of music?

Roy Orbison, Van Morrison; Bob Dylan and John Lee Hooker.

Not really. There would be parties and people would have sing-songs but nobody I knew was playing any instruments never mind writing their own songs. I would of secretly felt very out of touch with everyone who I knew and grew up with.  

Looking back; was there a single moment you knew you had to follow music and do it as a career?

School never worked out for me - I just couldn't settle in that environment. I thought I was a bit crazy as, in class, melodies, rhythms and lyrics would pop in to my head. I thought it was just me it happened to; then you meet a small minority of people and they have it too so you get that it's fine: you’re just a creative person and doing metalwork had no appeal whatsoever! 

What do you hope to achieve by the end of 2018?

To finish my solo debut album and get it ready to roll for release in 2019.

Have you got a favourite memory from your time in music so far – the one that sticks in the mind?

There's been a lot. I've been so lucky to have travelled the world because of my songs: no other reason would I have done that, so I'll say that. The music brings you to strange and beautiful places for sure!

Which album means the most to you would you say (and why)?

Mine would be Into the Music by Van Morrison (side-two particularly!).

If you could support any musician alive today, and choose your own rider, what would that entail?

The Rolling Stones; why not. I reckon I could give 1970s-Stones a good run for their money!

What advice would you give to new artists coming through?

If it's in you, you'll know. Follow it; work at it. You will struggle with it but you just keep going. If you quit then it wasn't in you from the start. Find some people who believe in you and who can give you honesty on your work. Go for it and make no apologies in doing so. 

Do you have tour dates coming up? Where can we catch you play?

I'm off to Belgium next month. We headline Rusilelde Festival on October 19th and Dranouter on 20th. 

 IN THIS PHOTO: Gráinne Hunt

Are there any new artists you recommend we check out?

She's not new - but we are always new to someone. An Irish singer songwriter, Gráinne Hunt, is a great vocalist and songwriter who works hard. Check out her debut E.P., Firing Pin. 

Do you get much time to chill away from music? How do you unwind?

Yes, I do, but it's hard to really switch off at a dinner or a party so I like to go boxing and train hard and to go to art galleries. My mind is gone in those places. 

Finally, and for being a good sport; you can choose a song and I’ll play it here (not any of your music - I will do that).

Van Morrison & John Lee Hooker - I Cover the Waterfront

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Follow James Cramer

Official:

http://www.jamescramer.eu/

Twitter:

https://twitter.com/jamescramerIRL

Facebook:

https://www.facebook.com/jamescramermusic/

SoundCloud:

https://soundcloud.com/jamescramermusic

YouTube:

https://www.youtube.com/channel/UC8rr4xMVm1gPW-PyRr8w49w

INTERVIEW: Franko Fraize

INTERVIEW:

Franko Fraize

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THE multi-talented Franko Fraize….

has been discussing his upcoming (out on 12th October) E.P., Lights and Colour, and what sort of themes inspired the work. I ask how it feels knowing his music has hit the minds of the public and some big names; which artists he is compelled by – he recommends some rising acts to watch.

Franko Fraize tells me about his tour plans and the albums that are most important to him; how his work has evolved since the start; what advice he would give to artists coming through – he ends the interview by selecting a great track.

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Hi, Franko. How are you? How has your week been?

Good as gold. This week’s been the same as most weeks: proper hectic. No complaints, though. If you ain’t busy you ain’t working hard enough

For those new to your music; can you introduce yourself, please?

My name is Franko Fraize. I’m a rapper from Thetford town. I write raps about the life I see - so it’s all got that socially-conscious-type aspect to it.

 

Lights and Colour is your upcoming E.P. What sort of personal themes and stories inspired the music?

I wanted to put together a body of work that stands the test of time. It’s five-tracks-deep and touches on life aspects such as believing in yourself, relationships; persevering, working hard etc. Musically, it touches on Rap through to Drum ‘n’ Bass. Basically, if you’re a fan of U.K. music you should find something in it.

1Xtra’s DJ Mistajam has backed your music! What is it like having someone like him in your corner?!

That made my day! Things like that are obviously a really good thing for my career but it’s also nice to know you get the backing of people in these positions. It’s nice to know they have heard me and sort of certify what I’m doing. The same with when Wiley tweeted about me. To hear one of your idols give a seal of approval is a big thing.

It seems your music has hit a chord and got into the heart of the public. Looking back at this year so far; did you think it would resonate as hard and instantly?!

To be honest, I made music to resonate and hit home with my hometown - with the people that live the life I live. When it got the praise and respect from them I was over the moon. To then get the ears, attention and praise and respect from the industry it really was the icing on the cake for me.

How do you think you have evolved and grown as an artist since the very start? 

Yes, definitely, but I’d say the core thing of what I’m doing has stayed exactly the same. I grew up being attracted to Rap that had a meaning and that was relatable to me. I always like music that meant something. I’ve always tried to keep this at the core of what I do. Musically, I’ve always tried to rap over anything I enjoy the sound of, so I’ve never really stuck to just one genre. I’d definitely say Rap is the key thing running through it all though.

You are a Norfolk native. Is there an active music scene there? Are there some great artists coming from there?

Yes. There’s definitely a decent scene round here. Drum ‘n’ Bass has always been massive. As for Rap; we have Brotherhood up the road in Ipswich who are massive in the Grime scene. An artist called TLEEVZ was banging it hard for Norwich back in the Channel U era. Mullaly is big in the Soul/Pop world and he’s from Norfolk.

Piers James is a massive Rap talent from Ipswich. As far as the future goes; Maya Law is a massive prospect from Norwich. Oh, and my mate Tone is doing big things too and he’s from my hometown of Thetford.

Who are the artists that inspire you and led you to get into songwriting?

Skinnyman, Macklemore; Wiley, The Streets; Nas and Mac Miller – all these people have influenced me in a way to write Rap music with relatable content. I’ve always followed the U.K. scene very closely and felt all U.K. genres influenced me in terms of the culture. Seeing Drum ‘n’ Bass, Dubstep; Grime, U.K. Rap; they have all been a reflection of what was going on culturally at the time.

What do you hope to achieve by the end of 2018?

I hope the E.P. is well-received. My Spotify numbers continue to grow and I see more and more people coming out live to see me rap. The live element is a big one for me. I love performing live so I’m hoping to continue selling more and more tickets and increasing the venue sizes I play.

Have you got a favourite memory from your time in music – the one that sticks in the mind?

Meeting Mike Skinner…

Which three albums mean the most to you would you say (and why)?

Skinnyman – Council Estate of Mind

This was the blueprint for me.

Dizzee Rascal – Boy in da Corner

This was the first time I heard Rap sounding 100% English

Nas – Illmatic

As an album, it’s nothing short of a masterpiece.

If you could support any musician alive today, and choose your own rider, what would that entail?

I’d probably say Macklemore and the rider would be Malbec and gin and tonic.

Can we see you on tour soon? What dates are coming up?

Yes. Got a few dates ahead of me as it goes. Going out supporting Skinnyman, too, which I’m proper-proud of. The shows we have done so far have been mad.

What advice would you give to new artists coming through?

Don’t expect anything: take everything as a blessing. Show love and appreciation to everyone who shows love. Do you. Make music that’s true to you and don’t let anyone sway your direction. Love what you do and only do it if it makes you happy.

 IN THIS PHOTO: Maya Law/PHOTO CREDIT: @mayalxw

Are there any new artists you recommend we check out?

Maya Law, Snowy Danger; Octavian, Dizzle Ap and Jevon.

 IN THIS PHOTO: Octavian

Do you get much time to chill away from music? How do you unwind?

Yeah, plenty. Music, to me, doesn’t really have a certain space or time. It’s a constant thing. Aside from it, I’m enjoying life; got a pukka family. I’m out there trying to make a pound note like most people are.

Finally, and for being a good sport; you can choose a song and I’ll play it here (not any of your music - I will do that).

Mac Miller – 2009

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Follow Franko Fraize 

Twitter:

https://twitter.com/frankofraize

Facebook:

https://www.facebook.com/frankofraize/

Instagram:

https://www.instagram.com/frankofraize/

Spotify:

https://open.spotify.com/artist/23BefcfpV8aKMGIAkAzPo6

SoundCloud:

https://soundcloud.com/frankofraize

YouTube:

https://www.youtube.com/channel/UCSsI5FsPs7i3zujhNoCpJ5w

PHOTOS:

Lindsay Melbourne  

INTERVIEW: Charlene Soraia

INTERVIEW:

Charlene Soraia

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THANKS to Charlene Soraia for speaking with me….

about her new track, Where’s My Tribe, and the story behind it. I ask her why she recorded the song in her South London flat and what we can expect from her upcoming album – she reveals what sort of music she grew up around and is inspired by.

Soraia tells me about her gig plans and whether she gets time to chill away from music; the advice she would give to artists coming through right now; which albums are most important to her – she ends the interview by selecting a beautiful track.  

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Hi, Charlene. How are you? How has your week been?

I’m fine, thank you. My week has been about as good as my week could possibly be, thanks…yours?

For those new to your music; can you introduce yourself, please?

Sure thing. My name’s Charlene Soraia. I’m English, Italian and Pakistani and I’ve been playing guitar since I was five. I’m self-taught and I like to do weird, fiddly and intricate things on guitar whilst singing melodies with slight abstraction, weird inflections and poetry of the subconscious psyche...

Where’s My Tribe is your new single. Is there a story behind the song?

It comes from a place of longing to belong. Lost. Separate. I don’t intentionally set about writing the music I write - it’s just whatever my subconscious is trying to make sense of at the time. I suppose, musically, I don’t really fit into any scene. I’m not folky enough to be part of the Folk scene; I don’t sing with that Indie vocal sound so I don’t belong there either but I don’t mind. I create because it’s my way of expressing/expelling that which I can’t bring the surface or speak about with normal words!

Is it true you recorded the song alone in your South London flat? Was there a reason behind that?!

I was actually just recording demos for the new album but, when I finally sent them to my label, the head (of my label) said he absolutely loved them and literally mastered the recordings as they were and then pressed them onto vinyl a couple weeks later. It’s my most honest record yet and, for that alone, I love it. It’s raw, real; not over-produced and pretty much untampered.

Half the songs are literally me and a guitar. I’m in front of a microphone at silly o’clock in the morning in my old flat...I tried re-recording a few bits with an actual producer but it lost that bittersweet knife-edge between pain and beauty and I’d rather have all the mistakes and background noises that are ‘incorrect’ than sacrifice the honesty. Someone said they could hear the kids in the school playground behind where I lived on one song - but I haven’t found it yet!

I believe there is an album due next year. What can we expect in terms of the themes and song influences?

The concept of ‘separatism’ and not feeling like you belong is an explored theme, which is ironic considering we’ve never been so connected with each other via technology! It’s been amazing to find out that I’m not the only one that feels this division between us all. There’s one song called The Journey which I wrote and recorded myself when I was seventeen (literally ten years before recording this album) and it’s strange to have finally come full-circle and (accidentally) made an album on my own. Maybe it’s ironic that the song is also called The Journey!?

I realised, whilst making the lyric videos for this album, that I’ve been coming to terms with my human experience for a lot longer than I had realised. So many full circles. I wish I could explain more but, alas, this is neither the time nor place. I’ll save it for another song…

In terms of musicians; what sort of stuff are you into? Who were you raised on?

I was raised on David Bowie, Bob Marley; The Police, Bob Dylan and Fleetwood Mac. I love them all (Bowie is my Patronus. Hey Potter fans! I’m a Slytherpuff) but I love King Crimson; early Prog-Rock and '60s Psyche music. However, my music isn’t a pastiche of these things at all. As for more modern stuff, I adore Lhasa de Sela; Stina Nordenstam, Daft Punk and everything that The Coral and Unknown Mortal Orchestra have ever released.

What do you hope to achieve by the end of 2018?

Happiness…

Have you got a favourite memory from your time in music so far – the one that sticks in the mind?

Making my first album, Moonchild, with Paul Stacey was pretty magical. All vintage equipment - and he’s a sh*t-hot musical, guitarist and mastermind!. His brother Jeremy played drums on that record too (and a little on my second album) but he’s now drumming for King Crimson...which obviously makes me fan-girl!

Which three albums mean the most to you would you say (and why)?

David Bowie - Space Odyssey

I always come back to this album. Most of Bowie’s music transports me to other worlds. I wish Letter to Hermione was written about me. So stunning. David Bowie is my saviour.

King Crimson - In the Court of the Crimson King

I was almost going to say Discipline just to be different but how can I compare anything Moonchild and I Talk to the Wind to anything else? The album cover used to frighten the crap out of me as a child but I’ve often found that the things I find most scary end up being the things I love the most in life!

Lhasa de Sela - Lhasa

I believe this was her last album before she died - and I also believe she knew she was dying during this album too. It’s just pure beauty and pain; sadness, realness and honesty…and I love it. I discovered her last Glastonbury when I saw the Russian theatre group BlackSkyWhite perform Lhasa’s song De cara a la pared in their show Llorana in the Astrolabe tent in the Circus field last year and that’s what got me hooked...thank you BlackSkyWhite and 2CB!

But to be honest, the entire back catalogues of all three of these artists are incredible - and most of the artists I mention here!

If you could support any musician alive today, and choose your own rider, what would that entail?

Unknown Mortal Orchestra. Every time they release an album I can’t understand how I can love it more than their last one. I thought II was brilliant; then Multi-Love was pure genius. But, when Sex & Food came out I was travelling to Portugal and I felt like I was listening to a secret the world hadn’t clocked onto yet. I love them/him. Sonically, lyrically…everything. The colours they make; the musicianship. I love how they’ve developed over the years...yeah....I’ll shut up now!

As for a rider; red grapes, please (that’s not a euphemism for wine: I just really like red grapes!).

Can we see you tour soon? Where are you playing?

I’m opening for a guy called Benne in Germany in November! I’ll be in Leipzig, Hamburg; Hannover, Köln; München and Berlin. As for the U.K.; I have a few shows coming up in Plymouth, Calstock; Glastonbury and Totnes in October.

Do you get a particular thrill and buzz from performing live? Is the stage where you love being the most?!

I love being on tour. I feel most at home on tour. Having odd gigs here and there makes me really nervous, but I’m very good at travelling and long journeys and, yeah, I’d love to tour more. Please, universe, make it happen!!

What advice would you give to new artists coming through?

The word ‘artist’ is thrown around very loosely these days. Anyone can be an artist, a musician or a producer now - you only need a phone! The selfie generation can edit their own pictures and make H.D. videos with ease. They adopt Googled identities. They don’t need any advice. They’ve got filters and quotes they can retweet for the advice they wish others to believe of them.

I wish I could find self-acceptance with likes and the back-end stats of social media but I just don’t care for the facade of it all. I often tell myself the Internet isn’t a real place. I’d much rather spend my time looking at the stars whilst waiting for a new South Park season!

Are there any new artists you recommend we check out?

Errrrrm...oh, god…new artists...do Blossoms count? They’re new-ish. I found them thanks to The Coral. I’m rubbish with new music. I wish people cared about making entire albums again. I prefer listening to an entire body of work but, sadly, we live in a time where everything is very throwaway. I miss having meaning to things.

Do you get much time to chill away from music? How do you unwind?

I’m trying to unwind all the time. I like seeing nature. I like to be still with no noise so I can hear my thoughts. I like long journeys. I’ve been wandering wild and wide-eyed around lots of festivals this year (sadly, not playing them) but it’s nice just ‘to be’ sometimes. I had an incredible time tripping out to Shpongle in the Psychedelic Forest at Boomtown Chapter 11 on some of the best acid I’ve had in many years. The giant-luminous-jellyfish-tentacle-love flashbacks.

Finally, and for being a good sport; you can choose a song and I’ll play it here (not any of your music - I will do that).

Lhasa de Sela - I’m Going In

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Follow Charlene Soraia

Twitter:

https://twitter.com/CharleneSoraia

Facebook:

https://www.facebook.com/CharleneSoraia/

Instagram:

https://www.instagram.com/charlenesoraia/

Spotify:

https://open.spotify.com/artist/0qk8MxMzgnfFECvDO3cc0X

SoundCloud:

https://soundcloud.com/charlenesoraia

INTERVIEW: Scott Matthew

INTERVIEW:

Scott Matthew

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THE fantastic Scott Matthew talks to me about….

his upcoming Ode to Others Tour (three U.K. dates are announced: 20th November, 2018 (London) - The Islington (first night) (tickets); 21st November, 2018 (Liverpool) - Parr St. Studios (tickets); 22nd November, 2018 (London) - The Islington (second night) (tickets) and how he met the band he plays with – I ask whether his recent album, Ode to Others, feels like a rebirth given its shift in subject matter.

Matthew discusses his upcoming recording plans and life in New York; how he pines for a move to the U.K. soon; the advice he would give to artists emerging – the songwriter recommends some musicians worth keeping our eyes out for.

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Hi, Scott. How are you? How has your week been?

Hi there. I’m doing very well. Glad about the oncoming autumn after a horridly hot summer. Most of my week has been spent embroidering antique handkerchiefs that we sell as merch. on tour. Total granny time. I love it.

For those new to your music; can you introduce yourself, please?

Well, firstly my name is Scott MATTHEW...NOT Scott Matthews - who is a singer-songwriter from the U.K. (that one ‘s’ makes a big difference!). It’s been a little tricky over the years differentiating the both of us in the press etc.

My music is based mostly in the age-old genre of ballads. Though, some have reviewed it as ‘sad’; I prefer not to use that word. It may be melancholy at times but I have always found beauty in that. The aim is to always consider what is honest and beautiful.

Your Ode to Others Tour sees you travel around Europe. Which places are you most looking forward to visiting?

To be honest, I am most looking forward to being in the U.K. We have two shows in London and one in Liverpool. I am a massive Anglophile and truly love being there. I am staying on after the tour to go to Bath and neighbouring towns for a week. I can't wait.

How did you meet the band you play with? What is it like being on the stage with them?

I have a strong rule that I will only make music with friends. I have known and loved these people for many, many years. We all live around the globe: Sam being in London; Marisol who is now living in Mexico and Gary who lives in N.Y.C. (there is also Juergen who lives in Berlin, but sadly won't be joining us this upcoming tour (but he did produce the last album). It sounds like it may be difficult but we rehearse a few days before touring together and we are ready to go. That is how talented they all are.

Your Ode to Others album is already out. It does not focus on your own love splits and woe. Is that a relief? Does this album seem like a rebirth?!

It was a relief. After many songs and albums dealing with the subject matter of love and loss, I decided I was not so inspired to show that with this album. I was tired of it and I was also aware that my audience may be too. The songs on this album could still be called ‘love songs’ but there is not one that deals with romantic love. Instead, they are dedications to friends, family and places I love.

What comes next in terms of material? Are you already looking ahead to other songs?

Yes. The next album will be all covers. What they are yet I do not know but I loved making the last covers album called Unlearned and playing around with other people’s songs and finding a way to make them my own. It will be a similar process.

Give me a sense of the music you grew up around. Was it quite varied?

I mostly listened to English bands - The Smiths, The Cure; The Jam. Then, in the '90s, I was obsessed with Britpop like Suede and Gene. It seems that all through my adolescents and into adulthood I was into British culture. How I ended up living the last twenty years in N.Y.C. is strange but that may change. I would love to try to make the U.K. my home in the near-future.

Being based in New York; how important is the city’s history, present and people to how you write your own music?

When I first moved here in 1997, I found it very inspiring. There was a fun scene and loads of places to play. I started a band called Elva Snow and even recorded an E.P. with Morrissey's ex-drummer Spencer Cobrin for a while before going solo. The city was more free and easy then with great bands coming out of Brooklyn (more so than now). Also, I have grown older and have different needs. A house in the country is the new goal.

What do you hope to achieve by the end of 2018?

I will be content with how this year went having released an album and done two fairly big tours with it. There will be the reward of my favorite time of year in N.Y.C. which is Christmas. Having grown up in Australia, I still am in awe of the N.Y. Christmas akin to the movies we all know. It has such an air of romance here at that time.

Have you got a favourite memory from your time in music so far – the one that sticks in the mind?

There have been many but one highlight was in 2009 opening for Anohni (then she was Antony and the Johnsons) at the Montreux Jazz Festival. A beautiful evening where I think we all felt proud being part of it.

Which three albums mean the most to you would you say (and why)?

Do you mean of my albums or in general? My fave I made I think was the latest one, Ode to Others, because it felt fresh having written songs that had different subject matters than what I usually do. I love the arrangements that Juergen Stark worked on. It’s a fulfilling album to digest in my mind anyway.

Then, probably a close second would be the covers album, Unlearned, we made. I think the best-reviewed album was my second album called There Is an Ocean and I have fond memories of making that with my friends in Brooklyn - particularly my friend Mike, who produced it, who sadly has since passed away. Now, I hope you meant from my albums otherwise I just rambled on all self-obsessed. Ha ha.

If you could support any musician alive today, and choose your own rider, what would that entail?

I've had some great experiences opening for people over the years. I mentioned Anohni but also SIA in the U.K. and Cat Power in Italy. All people I am huge fans of. I guess, if I could choose now, I would be up for opening for any of them again.

As far as riders go; all we require is red wine. Simple.

What advice would you give to new artists coming through?

I think the best thing I did was to play out A LOT. I was doing shows all the time before I had the privilege of touring often. It's becoming increasingly hard to earn money through record sales and often touring is where musicians make a living. That and - even though it’s a cliché - be true to who you are as far as what kind of music you make.

 IN THIS PHOTO: Kawakawa (Sam Taylor)

Are there any new artists you recommend we check out?

I have some lovely friends who make music. Sam Taylor, who plays cello with me, has a beautiful musical project called Kawakawa. Also; my good friend in N.Y.C. plays under the name Clint Michigan and he writes lovely, honest songs.

 IN THIS PHOTO: Clint Michigan

Do you get much time to chill away from music? How do you unwind?

I embroider (kinda badly, but I enjoy it). I binge-watch T.V. and learn about history; shop for antiques. (I am a granny).

Finally, and for being a good sport; you can choose a song and I’ll play it here (not any of your music - I will do that).

Another friend of mine, Simone White, just released a song that I am in love with called Tiny Drop. I would love more people to hear it

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Follow Scott Matthew

Official:

http://scottmatthewmusic.com/

Facebook:

https://www.facebook.com/scottmatthewfriend

Instagram:

https://www.instagram.com/scottmatthewmusic/

YouTube:

https://www.youtube.com/channel/UCVvoAvWe40QDe74amIhSgHQ

Spotify:

https://open.spotify.com/artist/18Xy9oGF9CxiU9luAp3Dzu

SoundCloud:

https://soundcloud.com/scottmatthew

PHOTOS OF SCOTT MATTHEW:

Michael Mann 

FEATURE: A Perfect Collaboration: Creating More Free Time and Community for Those in Music

FEATURE:

 

 

A Perfect Collaboration

ALL PHOTOS: Unsplash 

Creating More Free Time and Community for Those in Music

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ONE of the questions I ask artists when interviewing them…

is whether they get free time to unwind away from their careers. Some artists say they do and get to do other things but many say either music is their free time and relax or there is no time to do anything else! I have sort of alluded to this topic before and wanted to return to it. One of the biggest concerns I have is the sheer amount of time musicians spend doing their work. Maybe it is their passion and dream but it can be all-consuming gigging and being in front of a screen every day. If you are so caught up in making music and touring then you do not get enough time to unwind and have any sort of detachment. Some are lucky where they can get away and chill but many others have several jobs to fund their careers. Throw into the mix the demands of social media and online promotion and how much time is left for anything else?! Anxiety levels are rising and musicians are more depressed than ever. It seems like, in many ways, the business side of music is on the rise. Once was the time when artists had to release singles physically and there was a cost when the singles came to the end of the run. They were dumped into bargain bins and the whole business of making music was a lot more expensive. This article looks at ‘Dumperdom’ – that failure and physical waste – and argues musicians now do not witness failure:

“But for some artists, avoiding Dumperdom may simply be a stay of execution, and in many cases may not be ideal for mental health or longterm careers: it can’t be easy checking streaming stats each week in the way some people check their Lottery numbers, forever hoping that there’s a pot of $0.004 streams at the rainbow’s ungraspable end.

“…Have we ushered in a generation who have something in common with Les McQueen, the League Of Gentlemen’s hopeless Crème Brulee frontman who lived in a perpetual state of believing that this might finally be the year things turned around?

Just as significantly, what impact does it have on artistry? Musicians and creatives are often driven by the need to succeed but how many of them — how many of all of us — are equally driven by the fear of failure? And what, then, happens when we remove from the equation half the motivation to do well?”.

For artists wanting to shift their music; it seems streaming sites and the Internet is providing bounty and finance. This article, published in January this year, looks at the growth and current prosperity:

“The most exciting area of the industry right now is streaming--and, with more than 140 million active users and more than 50 million paying subscribers, Spotify is winning the arms race. The main reason we're seeing growth in recorded music is that Spotify, in particular, has expanded access to what amounts to a new music industry. In 2018, as it goes public and its savvy backers start to recoup their investments, Spotify appears set to solidify its dominance”.

A lot of things have got easier but I feel it is not as simple as celebrating streaming and how digital music allows artists to remain vital and seen. A lot of the artists I speak to feel so much pressure to be seen and heard. They find it hard to compete with the mainstream and the sheer effort to promote the music and be visible is taking its toll. You can share music on social media but that only goes so far. Artists now are touring harder than ever; sending more emails and, if they are lucky enough to find some success; there is that pressure to follow it up and hit even harder.

Making a success of things is about putting the time in but I feel we are not urging artists to take time away and relax. I am in the position myself: spending so much time working and not taking moments to pause and unwind. The best times are when you can have a night/day out and not feel pressured to check emails and social media. We all have one eye on that all the time and it can be an addiction! The feeling (among musicians) they will be overlooked and lose support if they are not either playing or being online creates this very negative feeling and is dangerous for mental-health. It can be hard weening people away from screens and the studio but one of the big problems is that feeling a social life is too costly or there are not like-minded people out there. It can be pricey going out and having a few drinks and, unless you know people nearby who are like-minded; how likely are you to venture out and connect with someone?! The natural answer would be to create a network for artists and musical folk that mean you can bond over music and not have to pay the world.  I have been playing with the idea that we could establish clubs or events that would get us all together and not be expense. Based in various cities and towns around the country; you would go to these nights and be in a fairly quiet, exciting environment that would be about relaxing but connecting.

You could chat with other artists about collaborating and making music together; discussing experiences and sharing new music. Others, like myself, could pitch ideas and network or simply listen to music play. You could have a jukebox playing and drinks served – either international coffees or music-themed cocktails – and it would be a bit of a paradise for musically-minded people. In many ways, it would be a bespoke music café/bar that means you would not feel alienated and anti-social and the prices would be low. What I want from a break away from the screen is relaxation but the chance to still work a bit. I would like to go and bond with people like me and discuss developments in the industry and new artists to check – whilst having a nice drink and listening to some classic/epic music. In a way, this would be a cross between a networking event and a traditional night out. Having these cool spaces that are themed and well appointed – music memorabilia or artefacts around – would relax you and you would not entirely be off the clock. I do not think anyone can go cold-turkey and unhook from music work completely. You would not be glued to the phone and laptop but, instead, could talk to similar people and actually discuss opportunities and things. Having that blend of fun and a creative environment would be a great way of taking away the stress and still being busy.

If you look at existing music cafes/bars they are perhaps a little niche or small. I am not proposing a massive area that is intimidating but have a few bespoke cafes around the country. One might argue it is expensive to commute to these places and it may be hard to fund setting up these cafes. I think having something smaller and village hall-style would be depressing and incomplete and you need to design something that grabs the imagination. A crowd-funding initiative could be established and it would be a way of having these places in different locations and provide a bit of a co-operative. Those who fund the proposal could get discounts and would be helping ease the stressed and anxieties of many of us out there. Carpooling could be mooted and people could communicate with one another regarding transport – so that nobody is left out and there is that extra sociable side to things. Maybe you could have live performances and artists playing or just stick with a jukebox that would play a mix of older and new music. Maybe it is hard to get this idea floated and realised quickly but I think there is a danger many of us are becoming dislocated and not able to get out a lot. If there was a way of bringing elements of music promotion/work to a social environment then it would get us out and about and help ease the stress.

You only need look at social media and chat with those in music to know the pressure on their shoulders and how much time they spend in front of screens. Whether it is emailing P.R. companies or promoting music; organising gigs or simply being on the road and gigging – how many of us actually get out and about and relax?! Most of us feel cost and not having anything exciting to do is a good reason to stay in but, if something were designed that appealed to the musical-minded; I feel that would be killing many birds with the one stone! I am not sure what this venture would be called but having venues/cafes where we could go and chat; listen to music and create opportunities at the same time sounds like a good thing indeed. You only need go once a week but I feel the personal benefits would be clear. I am launching some ideas in music and want to connect with others but find it can be challenging online. Where do you start and how do you go about finding the right people? If this social endeavour has a website where you could register and connect with those you want to chat with – it sounds like we are heading back into the problem at hand but you need to have some electronic input – that would be a way of going about things. If there is a consensus and more input from others; not only could we find places where those in music could unwind and be sociable but there is that business/creative element. I know something needs to be done because, the way things are now, so few of us actually feel we can commit the time…

TO interact with others.

INTERVIEW: The Herron Brothers

INTERVIEW:

The Herron Brothers

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I have been chatting with The Herron Brothers….

about their forthcoming album, The Last Ones Left, and what themes inspired the record. The guys talk about making music together and which artists they hold dear; whether they each have a favourite album – I ask if there are tour dates coming up.

Paul and Steven share their favourite memories from their careers so far; how they spend time away from music; which artist they’d support if they had the chance – they end the interview by each selecting a great tune.

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Hi, guys. How are you? How has your week been?

Paul: Busy busy busy: there aren't enough hours in the day to be promoting an album AND trying to dispute parking fines!

Steven: I had the worst hangover I’ve had in many years on Saturday - which meant I was able to watch all three Back to the Future films.

For those new to your music; can you introduce yourselves, please?

Paul: We're the Herron Brothers; originally from North Northumberland but currently in Derby. We make mature(ish) Pop music!

The Last Ones Left is your forthcoming album. What sort of themes compelled the songwriting?

Paul: I had to look at the running order to answer this (smiles). A lot of it is about struggle; whether that's from a health point of view, or career or social justice etc.…just about fighting to get where you need to be. If I had to pin-point one central underlying theme it would be that. Unless you ask me tomorrow and it might be different.

Do you have favourite cuts from the record?

Paul:  Michael Palin springs to mind.

Steven: Michael Palin and California are my faves. They bookend the album very nicely.

When did The Herron Brothers start life and begin playing together?

Paul: Our old band The Sons split about three years ago, so we just carried on after that but on and off, as we're brothers, we've been playing together since our gig at Alnwick Town Football Club back in the '90s!

Do you think there will be more material coming down the line?

Paul: We have plans for a Christmas single which we'll be working on/finishing off after the tour. It was one of the possible tracks for the album, which is going to make a lot more sense as a Chrimbo song! After that, we'd absolutely love to do another album that build upon this one. It really depends how successful this campaign has been as to the position that were in.

If I were to travel back to your childhoods; what sort of music would I find in your collections?

Paul: Paul Simon, The Beatles; Wet Wet Wet, Crowded House; De La Soul, Blur and Oasis.

Steven: The Bluetones, MC Hammer; Dire Straits and The Sultans of Ping FC.

What do you hope to achieve by the end of 2018?

Paul: For, 100%, of our living to be from making our own music. Too much of our lives are being wasted on boring pay-the-bill-scrap and we're 'effin sick of it.

Steven: What he said - and to be able to play The Claw by Jerry Reed all the way through.

Have you each got a favourite memory from your time in music so far – the one that sticks in the mind?

Paul: The Sons’ farewell gig is one. There was a lot of love in the room it was really emotional.

Steven: Supporting The Bluetones last year was very cool. The best bit wasn’t the gig itself though; it was watching them do Ain’t No Pleasing You by Chas & Dave in the soundcheck. Flippin’ brilliant!

Which one album means the most to each of you would you say (and why)?

Paul: Graceland - Paul Simon

It's why I started doing this.

Steven: One album?! You kidding?! I can think of about nine that are hugely important: Automatic for the People by R.E.M.; Definitely Maybe by Oasis; Love Over Gold and Brothers in Arms by Dire Straits; Spartacus by The Farm; Out of Time by R.E.M….But, for today, I’m gonna go for All the Best by Paul McCartney. It’s a compilation album that’s never been beaten in my opinion. I used to listen to it on-repeat whilst building cars out of Meccano.

If you could support any musician alive today, and choose your own rider, what would that entail?

Paul: Paul McCartney. Because the crowd would be huge. Rider-wise, I'm not bothered really. Just loads of access to nice warm water; maybe some nice fillets of fish - and a bottle of champagne and a decent medium rare steak burger for when we come off! (And some mouthwash...).

Steven: Wilco. Cos they’re awesome. The rider would consist of higher welfare meat, some nice bottles of IPA; Newcastle Brown Ale, champagne; oysters, Monster Munch; chilli pickled eggs (chickled eggs) and any local delicacies. In fact, pretty much anything that can be chucked at us. My favourite type of food is definitely free food.

Might we see some tour dates coming up? Where might we be able to catch you play?

Paul: Check it out…

Steven: Liverpool, Chesham; Tynemouth, Derby; London, Belper; Birmingham, Nottingham; Burton…everybody talk about, mmmmm, Pop music!

What advice would you give to new artists coming through?

Paul: Don't drink.

Steven: Drink lots of water, do vocal warm-ups; do them before every gig. If you want a long career, look after your voice.

Are there any new artists you recommend we check out?

Paul: Can't think of any…

Steven: The latest Gorillaz album is amazing, as is Gruff Rhys' latest. Oh, and the latest Django Django one is good as well. Yes, I know they’re not ‘new’ artists but that’s the best you’re gonna get from us! (Smiles).

 IN THIS IMAGE: Gorillaz

Do you get much time to chill away from music? How do you unwind?

Paul: I love swimming, walking and films; IPA and physics. I PROMISE I'm not as dull as I sound...

Steven: Gaming. It’s the best value for money of any entertainment medium. Currently playing Far Cry 5 and getting excited for Fallout 76 and Red Dead Redemption 2.

Finally, and for being good sports; you can each choose a song and I’ll play it here (not any of your music - I will do that).

Paul: Freiheit - Keeping the Dream Alive

Steven: The Phoenix Foundation – The Captain

TA!

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Follow The Herron Brothers

Official:

https://theherronbrothers.com/home

Facebook:

https://www.facebook.com/HerronBrothers/

Twitter:

https://twitter.com/Herronbrothers

Instagram:

https://www.instagram.com/theherronbrothers/

YouTube:

https://www.youtube.com/channel/UCSfCe-wXN1ecHn3l5HZWDgw

Bandcamp:

https://theherronbrothers.bandcamp.com/

INTERVIEW: Calista from Voice of Aiko

INTERVIEW:

Calista from Voice of Aiko

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IT is not often I get to speak….

with artists who are speaking on behalf of a collective. In this case, Calista Kazuko has been chatting with me about Voice of Aiko and the new track, Prescription Dream. I ask her what Voice of Aiko entails and symbolises - what we can expect from the upcoming film promotion of Prescription Dream.

She discusses why the new single supports several different charities and what comes next; what her personal favourite album is; whether she gets time to unwind away from music; which rising artists we should get involved with; what we can expect from the upcoming album, Empress – Kazuko ends the interview with a great song choice.

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Hi, Calista. How are you? How has your week been?

Hi! Things are FABULOUS, of course. How are you?

For those new to your music; can you introduce yourself, please?

Sure! My name’s Calista Kazuko I’m a singer/songwriter from London and I’m representing Voice of Aiko today. Voice of Aiko is a new creative collective of musicians, filmmakers; dancers and artists joining forces to campaign for change. An artistic army on a mission!

Can you talk to me about the idea behind ‘Voice of Aiko’ and what it symbolises? How did it come together?

Voice of Aiko was born out of the artists’ shared passion and belief in the power art has to help and heal. Aiko is a family name on my mother’s Japanese side. It can be directly translated as ‘Child of Love’. My dear great Auntie Aiko is in her late-nineties and now in a nursing home in California. This project is dedicated to her and to give her a voice. Our mission is to ‘give the silenced a voice’.

Prescription Dream is released on 28th September. What was it like recording the song?

This song was a total dream to make! I made it in Berlin with the incredible producer musicians Samim, Miguel Toro and Jack Brown as part of a set of five songs (more to come!) We had a totally wild, magical time making it and the music making was totally free and organic: not trying to ‘fit’ in to any mould. It was very special indeed!

I believe it support the charity, MIND. Is its themes of prescription drugs, and the reliance some people have on them, something you felt was under-represented in music?

We are working with charities REST, MIND and APRIL to raise awareness on prescription drugs which can have potential devastating side-effects and cause dependency. In England alone, there are an estimated 1.5 million people suffering from doctor-induced Benzo drug dependency. In 2017, the All Party Parliamentary Group on Drug Dependence (APPG) warned that in England more than 1 million patients are taking dependence-forming drugs unnecessarily. Antidepressants are also a major problem and statistics show that roughly fifty Americans die from prescription painkiller overdoses every day. Stopping medication (even low doses) cold turkey can be dangerous, even fatal.

The figures are scary and often people won’t realise it’s a medication they are taking, or have stopped taking, that is causing physical or mental changes or that they have become dependent on a medication. There are great resources online to find out more at:

www.benzoinfo.com

www.w-bad.org

https://www.april.org.uk/

www.mindincamden.org.uk/resources/articles/minor-tranx

We wanted to address this issue because we feel it’s under-represented not just in music, but in society as a whole. We live in a prescription world and are often quick to medicate perhaps unaware of the potential side-effects and often without exploring other alternatives first. I personally had no idea about the potential dangers of prescription drugs before starting this project so now am able to make more informed, careful choices before popping a pill. If we can get more people talking and thinking like this too, our mission will be complete!

There is a film to accompany its release. What is the story behind it?

The accompanying film is made by amazing filmmaker Enya Belak Gupta. Enya and I met and quickly became friends - she’s a total babe! When I told her about this project she immediately got it and wanted to get involved. Her powerful film beautifully illustrates the feelings of confusion the protagonist is feeling, trapped in her ‘prescription dream’.

We used love hearts to represent this idea of a pill being a ‘quick fix’: this pill will make you feel ‘perfect’; this pill will make you ‘smile’. Having shared several peoples’ stories about their experiences of prescription drug dependency and withdrawal; repeated themes were those of feeling confused, trapped; half-asleep and alone. Enya has done a remarkable job at capturing these stories and it has been an absolute honour to work with her.

The release party for the track/video is on 29th September in Aldgate. If we were to come along; what might we expect in terms of the evening and who will appear?

Expect a night to remember! Voice of Aiko are taking over the amazing Leman Locke hotel in Aldgate for a magical evening of live music, art; dance and discussion. We will open the event with a conversation room with amazing representatives from the partner charities who will be explaining more about prescription drug problems; what we can do to help and answering any questions. This will be followed by a live performance from stunning musical artists Bumi Thomas and Sera EKE.

The CA Contemporary Dance Company led by director Adrian Del Arroyo will be performing a truly unique commissioned piece inspired by the event‘s Prescription Dream theme and the night closes with a very special guest D.J. set, drinks; dancing and delight! 50% of all ticket proceeds will go to REST and APRIL, supporting people with prescription drug dependencies. Tickets available here:

https://www.facebook.com/events/259119054720897/

https://prescriptiondream.eventbrite.co.uk/

Will there be more material coming down the line?

YES! Voice of Aiko are excited to start working on our next project straight away with the aim of releasing in late-January 2019. This project will be focused on refugee and asylum seeker children; drawing a spotlight on the children who were left in Calais after the Jungle was destroyed. We have some truly incredible artists and collaborations lined up, more to be revealed soon!

(Taking off the Voice of Aiko pink wig, this is Calista Kazuko talking now…)

If I was to travel back to your childhood; what sort of music would I find in your collection?

I was literally obsessed with Freddy Mercury - to the point that I would draw on a moustache and wear spanx as a child, sure. Other obsessions included Kate Bush, Supertramp and Nas!

What do you hope to achieve by the end of 2018?

By the end of 2018, I will have finished my album, Empress, which is due for release in spring 2019. I am having SUCH a blast making this album with my fave collaborator film composer Guy Dagul. A history of empresses throughout time, this record will be a rollercoaster ride of epic sonic soundscapes! Drawing on my Classical and Jazz training at the Royal Academy of Music, and many musical influences and loves, the album is shaping up to be a total musical melting pot of yumminess!

The album also explores the adversities women have had to endure throughout time and the relationship between powerful women and sexuality. It’s been really fun entering the different worlds of the various fabulous empresses and I can’t wait to finish it and unleash it unto the world! Empress the album is available for pre-order exclusively at PledgeMusic.

I’m also beyond excited to be writing my first musical(!) with phenomenal playwright, fellow Royal Academy of Music graduate and all-round boss lady Stephanie Martin. It’s called Mary Quake and tells the story of a young woman’s inner-turmoil and ultimate self-discovery as she enters the world of British feminism in the 1960s and '70s.

Steph is the most remarkable writer and woman; it’s totally inspirational to work with her. She teaches me so much on creativity, work ethic and just generally being fabulous! We hope to have a first draft complete by end of 2018 and cannot wait to see our baby come to life.

Have you got a favourite memory from your time in music so far – the one that sticks in the mind?

Playing Wembley Arena as a teeny-bopper, chart topper (no jokes!)

Which one album means the most to you would you say (and why)?

Kate Bush - The Kick Inside

Kate Bush is a goddess - and this album was the soundtrack of my childhood. My dad led the Medici String Quartet and they are playing on this album and on Wuthering Heights. Pretty cool, no?! Kate Bush and this album probably inspired me and shaped me as a young musician the most.

If you could support any musician alive today, and choose your own rider, what would that entail?

Fiona Apple. Everything she wants in the world cause she deserves it!

Might we see some tour dates coming up? Where might we be able to catch you play?

YES! I will be doing a show in late-November at the Century Club in Soho (date T.B.C. v. soon). I also hope to tour the EMPRESS album with my amazing band Fred Claridge and Sam Weston when it is released next spring. Watch this space!

What advice would you give to new artists coming through?

Be yourself and know that it’s ok that ‘yourself’ changes all the time. Don’t make music to try and please people: not everyone will love what you do and that’s totes ok. Don’t expect to make millions from your music - you probs won’t.

Prepare for a bohemian life of baked beans and romance. Have a thick skin and an open mind. Figure out what drives you and what you value as success…then reach for the stars, baby!

 IN THIS PHOTO: Sera EKE

Are there any new artists you recommend we check out?

Sera EKE - profound, daring; innovative and brave. Sera mixes music, film and dance to create groundbreaking new art.

Bumi Thomas - honest, ethereal; powerful and beautiful. Bumi’s music transcends the physical and touches the soul. She’s a true artist in every sense of the word.

Both these amazing female artists are representing Voice of Aiko and performing at the Prescription Dream Launch Event at Leman Locke on 29th September!

 IN THIS PHOTO: Bumi Thomas/PHOTO CREDIT: @kajagwincinska

Do you get much time to chill away from music? How do you unwind?

Netflix and chill, ya dun kno. Escaping to the country with the hubby and leaving all technology in London. FOOD!

Finally, and for being a good sport; you can choose a song and I’ll play it here (not any of your music - I will do that).

Supertramp – The Logical Song

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Follow Calista Kazuko

Official:

https://www.calistakazuko.com/

Facebook:

https://www.facebook.com/CalistaKazuko/

Twitter:

https://twitter.com/calistakazuko

Instagram:

https://www.instagram.com/Calistakazuko/

YouTube:

https://www.youtube.com/user/calistakazukomusic

Spotify:

https://open.spotify.com/artist/2FolG4F7PJKFEbG2cJ0Ncq

Follow Voice of Aiko:

Facebook:

https://www.facebook.com/VoiceofAiko/

Twitter:

https://twitter.com/voiceofaiko

Instagram:

https://www.instagram.com/voiceofaiko/

FEATURE: A Maligned Musical Decade: Time to Stop Hating on the '80s

FEATURE:

 

 

A Maligned Musical Decade

ALL IMAGES/PHOTOS: Getty Images 

Time to Stop Hating on the '80s

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EVERYONE has their favourite decade of music…

 IN THIS PHOTO: Bauhaus

but you always get that argument against the 1980s – that it is completely naff and never produced anything good! I think the 1990s is the best time for music but, again, there are those who refuse to accept the brilliance of the time. I guess everyone is entitled to their tastes and preferences but there is this huge weight against the '80s that makes me a bit angry. I always hear people slag off the music based, I guess, on images like the one above. It is true there was a lot of tragic clothing and dodgy music but look at the classic albums from the decade and you have to wonder what the hell people are talking about. Inspired by a recent piece Pitchfork published regarding the best two-hundred albums of the 1980s; my eyes were watering at the sheer volume of genius that came through. Just look at their top-twenty and you cannot argue against the inclusions. From Kate Bush’s Hounds of Love (1985) to Beastie Boys’ Paul’s Boutique (1989); Madonna’s eponymous debut (1983) through to Prince and the Revolution’s Purple Rain (1984) – there is so much wonder and brilliance there. 1986 is a year that has been criticised for having too much computerised beats and a bit of an awful sound that did not produce much greatness.

 IN THIS IMAGE: The cover for Beastie Boys’ album, Paul’s Boutique

Aside from records like Graceland (Paul Simon) and The Queen Is Dead (The Smiths); there was not a huge force to write home about. That is okay because so much of the decade is represented in the 1980s’ list. I think about Madonna arriving on the scene and that unique, brilliant sound coming through. Some argue her peak was 1989’s Like a Prayer but you can make a stronger case for her debut. Prince has a productive decade that also saw Sign o’ the Times in 1987. He was in incredible form and showing he had no peers. Great Hip-Hop and Rap was emerging in the form of Beastie Boys and Public Enemy. On different pages in terms of their style and lyrics; Paul’s Boutique and It Takes a Nation of Millions to Hold Us Back (respectively) are among the finest creations of the '80s. You marvel at the innovation emerging and listen to Erik B. & Rakim’s 1987 masterpiece, Paid in Full. Pitchfork, when assessing the album in their rundown, had this to say:

“But formal innovations lose their shock over years; once you’ve been astonished by their novelty, you don’t stay astonished. What truly solidifies Paid In Full’s lofty place in history, and what makes it sound mysterious and untouchable three decades later, is the spartan form of cool it pioneered. Rakim cut a forbidding figure against his peers: He was a stone-faced virtuoso in a sea of party rappers, equal parts exacting and self-assured”.

 IN THIS PHOTO: Eric B. & Rakim

The staggering array of Hip-Hop and Rap emerging from the 1980s was staggering to see. Pioneering and bold artists like Neneh Cherry, Kraftwerk and Pixies were ruling and it was a sensational time for Pop kings/queens. I have mentioned Kate Bush’s Hound of Love but she released the wonderful The Sensual World in 1989. Madonna was undergoing change and transformation through the 1980s. From her debut in 1983 to Like a Prayer in 1989; she established herself as the Queen of Pop and became a fashion icon in the process. They do not make stars like her anymore and, rather than conform to all the uncool stereotypes of the 1980s, she constructed her own looks and inspired legions of fans. Michael Jackson gave us Thriller in 1982 and Bad in 1987. I amused by this article that reacted to ‘scientific’ study that suggests the 1980s was the most homogenised and boring era for music:

“The second landmark movement in 1983 came with the adoption of aggressive, synthesized percussion — think Phil Collins and his pulsating drum machine — and loud, guitar-heavy Arena rock with lots of chord changes, such as with Mötley Crüe, Van Halen, REO Speedwagon, Queen, Kiss and Alice Cooper. These rock bands were joined by new wave acts — like the Police and Cyndi Lauper — plus a surge of metronomic dance-pop heroes like Madonna and the Pet Shop Boys. (Michael Jackson’s Thriller dropped in late-1982) Meantime, classic country and folk lost popularity and wouldn’t return until the early aughts.

“…But these sounds and styles of the Reagan era flooded the music scene, pushing out genres like country and folk to the point that mid-to-late 1980s became most homogenous period in music over the last 50 years, based on the team’s computer analysis”.

Tommy Lee of Motley Crue performs live onstage in February 1986. The 1980s marked a period of low diversity in music, according to a new computer science study. Photo by Peter Still/Redferns

This theme doesn’t mean music from this era was bad, but rather it suggests “a small number of styles were very catchy and therefore dominated,” Pagel said. This catchiness may linger to this day and explain why themes from the 1980s have bounced back over the last decade”.

Maybe 1990s’ Pop and Rap scene were more vivid and populist but you cannot claim the decade lacked inventiveness, spark and imagination. I will end the piece by selecting tracks from the albums Pitchfork selected as the best of the 1980s – that shows what an array of brilliance there was! Rap, especially, was noted for its scene and culture during the 1980s:

“As complicated as it was creative, as contradictory as it was all-conquering, the story of hip-hop's eventual aesthetic takeover starts in the '80s. From artists like Slick Rick to the Fresh Prince, Public Enemy to the 2Live Crew, N.W.A to BDP, Salt-N-Pepa to Queen Latifah, The Fat Boys to De La Soul—this is where rap's various ideologies and innovations begin spinning outwards, spreading geographically and, culturally. Early on, it wasn't an album genre; hip-hop was all about parties and park jams, preserved and propagated via bootleg cassette. Soon after it was about stars and singles, disco loops and breakbeats, drum machines, and ultimately, albums. The art of the hip-hop album was perfected by the close of this remarkable decade”.

 IN THIS PHOTO: Bananarama

Whether you prefer an '80s record like Talking Heads’ Remain in Light (1980) or Sonic Youth’s Daydream Nation (1988); plump for Joy Division’s Closer (1980) over Janet Jackson’s Control (1986); there was so much range and terrific stuff coming out. The 1980, of course did bring us Bros, Spandau Ballet; Bucks Fizz and Duran Duran. Some love the music of those artists - I am partial to classic Duran Duran – but there was that ‘look’ that gets in the way of the music. Look at the publicity photos and it tends to be the large hair, matching outfits and eye-catching looks. I agree the fashions and styles of some artists distorted the music but the likes of Tears for Fears, Eurythmics and Bananarama were making some incredible music – even if the fashion has dated somewhat. If you cast aside the worst of Pop music and a lot of the rough edges; I argue the 1980s was as strong and interesting as the 1960s and 1970s. Rock was less of a potent force during the decade and artists were more pansexual in terms of their compositions and themes. Everyone from Orange Juice to The Clash were bringing in Calypso, Funk and Synth-Pop and lacing it together wonderfully. There was so much more richness at the forefront compared to the 1970s. With a decline in genres like Rock and Punk, more female artists were coming to prominence.

I have mentioned Madonna and Kate Bush but we also had Suzanne Vega, k.d. lang and Sade releasing incredible music. It was a great time of hubris for female artists who were, for the first time in a long time, given a lot more attention and focus. I am not saying there was no sexism in the 1980s but female artists were flourishing and showing just how exceptional they were. Music journalism was booming and great independent labels were formed. Whilst Smash Hits and The Wire were looking at the new releases; Creation and 4AD were among the labels leading the charge against the big boys. Black artists like Prince, Salt-N-Pepa; Michael Jackson, Whitney Houston and De La Soul were making waves and, alongside the rise of music television, it meant there was less homogenisation on the screen. The Tube and Top of the Pops gave artists of the day a stage on which to perform and MTV were playing the biggest and most spectacular videos of the time. Groundbreaking videos such as Sledgehammer (Peter Gabriel), Thriller (Michael Jackson) and Talking Heads’ Once in a Lifetime pushed technology and techniques to the limit and it was a golden era for music T.V., journalism and progression. Maybe a bigger explosion came in the 1990s and, to me, it is a stronger decade but the 1980s was a wonderful time for music and culture. In many ways, I wish we could return to a time when there were those huge Pop artists challenging one another; music T.V. and journalism were fierce and huge shifts were occurring. I really love the '80s and think it gets a hard press. I think we should all take time out and appreciate all the amazing albums, artists and moments that reigned…

DURING a fantastic decade!  

FEATURE: Between the Grooves: Why the Album Can Never Be Considered ‘Dead’

FEATURE:

 

 

Between the Grooves

ALL PHOTOS (unless credited otherwise): Unsplash 

Why the Album Can Never Be Considered ‘Dead’

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SOME might say…

 IMAGE CREDIT: Getty Images

they listen to great albums like Oasis’ (What’s the Story) Morning Glory? all the way through and they are beholden to the album as a concept. Many, slightly older listeners, have always bonded with vinyl and do hold much stock in the digital takeover. The reason I bring this subject up is because there is that never-ending talk about the album and whether it holds much weight. The Hyundai Mercury Prize happens on Thursday and it is a rare occasion where we get to celebrate an album in its whole. Award ceremonies commemorate and nod to great records but I wonder how much the public actually takes notice of the L.P. I myself have been dipping into a lot of recent albums but I go back to older records and listening to them in full. I am not sure whether it is the way artists make albums – a few singles and then some weaker tracks – or if it is a sign of the times. I love putting on a vinyl and listening to the complete thing. Great albums are a story and narrative that grip you from start to end and it is harder to draw yourself away than you’d imagine. You sit there and let the music wash over you and it is a wonderful thing. I wonder whether we have the time and patience to sit through albums and whether we have that same passion.

Focusing on an album requires patience and time to concentrate. Many of us are busy and going about our business and, when we get a moment free, we go onto streaming sites and pick tracks we want to listen to. The album turns seventy this year and it is a good occasion to look at the format and whether it is really in full decline. This article from The Conversation (published in July) looks at the figures and how albums are faring at the moment:

“The album – or at least, the 33rpm vinyl record that spawned the format – turns 70 years old this year. But it isn’t ageing gracefully. Even five years ago, Bob Lefsetz declared that “the album is dying in front of our very eyes” – and given how comprehensively streaming services are decimating record sales, that still seems a reasonable observation.

In 2017, UK revenues from subscription streaming platforms rose 41.9% to £577m, while physical formats dropped 3.4% and online downloading dropped 23.1%. Album sales – as hard copies and digital files – have halved since 2010”.

You can argue award ceremonies and special days – National Album Day on 13th October is a special day to mark the wonders of the album – help boost the importance of albums but I fear many people are picking singles and there needs to be that sort of revival.

 IMAGE CREDIT: Getty Images

Back in the 1960s and 1970s, when the album was at its peak, you had those wonderful statements that have stood the test of time. Whether it is The Beatles creating cultural milestones on Sgt. Pepper’s Lonely Hearts Club Band or huge commercial success like Thriller (Michael Jackson) and The Dark Side of the Moon (Pink Floyd) selling millions – it is clear the album is important and has changed music. That article from The Conversation noted how some acts toured entire albums – Paul Simon for Graceland and Lauryn Hill for The Miseducation of Lauryn Hill – and fans can revel in their favourite record coming to life, in full, on the stage. The piece looks at the current state and how streaming has affected the market:

“Notwithstanding a resurgence of vinyl sales, albums are still suffering when compared with streaming, which has steadily ratcheted up the value of individual smash hits. But while some songs end with a sudden cut-off, others slowly and gradually fade away. It’s been a long time since the album was defined solely in economic or physical terms. Culturally and socially, the album’s carefully choreographed tracklist could run for a good while yet”.

This Forbes article looks at the expense of making an album and asks whether it is worth buying them considering the fact many of us pick a track or two:

“Albums are expensive and time consuming to make and, for the most part, amount to a lot of wasted effort as consumers only listen to one or two songs (the singles) anyway even if they buy the album. Most people that get their music from a streaming service will end up cherry-picking the most visible songs (again, the singles), and will never experience the rest of the album cuts anyway. Even if they do, chances are they’ll only listen to each a few times at most, and in most cases, not at all. That’s a lot of wasted effort for so little in return”.

This phenomenon of the dwindling album is not a new thing. Ever since artists started filling C.D.s with as much material as possible, many have eschewed the notion of the album being noble and omnipresent. There was that trend, especially in the 1990s, to make sure the consumer got value and, as such, artists crammed every ounce they could into a C.D. It meant a few filler tracks and, as such, people were only listening to the big hits. It seems rather pointless and sad for artists to make albums at all if we are less concerned with the whole work. I know the facts out there are shocking but I do not want to see the day where artists are more interested in getting their music featured on playlist and can’t be bothered to record whole albums. The reason we have these classic artists and music has come this far is because of the album itself! We will not see evolution and legendary artists of the future based on singles – there needs to be the album and, if it is expensive, then artists need to up their games. Attention spans are short but we cannot let the album die because people cannot be bothered to listen to them. Album artwork and images are still playing an important role for some artists. Now, we have thumbnails and artists are required to submit a cover art as a formality. Many artists are using images as branding and can create an identity based on an album cover.

Streaming is good for those who want to grab a few tracks but the tactility of an album and that complete package is important. Most of my greatest musical memories revolve around hardware and me having that tangible and personal bond to an album. I love picking up a vinyl and having this finished product in the hand. The sleeve has that great detail and art and it feels like you have a much greater attachment to that artist. I maintain a lot of albums, classic or not, have a couple of weaker tracks but you still listen to the whole thing because it is that album experience. If you skip over tracks – harder to do on vinyl! – then you miss out on something pure and cohesive. I think this mentality has formed that says the album is pointless and plays no role in the modern day. This great article states how you can hear a complete statement and story through an album:

“Albums still matter because they tell the unique story of who a band is at a specific moment of time that one or two singles just don’t have the ability to do. Imagine if the songs from Nick Drake’s Pink Moon or The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band were released one at a time over the course of a year. Yes, the songs would still be incredible, but the meaning of these hugely important albums would be far less impactful. Whether it’s a concept album or not, good albums feature some sort of story or larger narrative whether it’s in the lyrics or instrumentation. Singles can’t tell the stories albums can”.

It goes on to say how albums do not need to be masterful works of genius and comprehensive – there is great logic releasing an album:

“Albums don’t need to be deep, meaningful or political in order for the world to take notice. Rather than being some grand artistic statement, it’s sometimes as simple as a music listener thinking, “Hey, a band I like just put out ten songs.” You’ll get far more mileage out of releasing your music through albums than you will from spreading out your releases song-by-song no matter what kind of music you make”.

I know there will be a decline and formats like the C.D. will be phased out. It is important we keep hold of the album because, without it, music cannot survive. That is not hyperbole: if we celebrate singles then artists releasing now will be overlooked and it is a case of washing away one generation and forgetting what came before. If we do have short attention spans then we are only listening to what’s out now and, in years to come, aren’t going to recall the singles we are streaming now. Albums are the natural source of new music and have to be preserved. Whether it means looking at the cost of making them or enforcing the pleasures of artwork, the physical format and classic albums we all love – accepting the album is dead is something a lot of people are not willing to let happen.

We can never get rid of the album because, whether you like it or not, there is still a passion among musicians to release them into the world:

“No matter how it arrives, the hoops people jump through beforehand, or how it’s labeled, it’s clear that everything relates back to one simple truth: Bands still make albums for people to consume. Somehow, some way…

The fact of the matter is that no fiscal, artistic, or cultural change could ever make a lasting difference. You can release an album on human bone and distribute it via tornado, and people will either treat it like an artifact of pure value or ignore it outright — just like most folk do already. Nothing of this most venerated institution has so much changing”.

We need to stop bleating about the album being dead and look at ways to balance its importance against that of convenient streaming! If we get too complacent then music is going to suffer hugely. As we look forward to the Mercury Prize and mark the album more passionately next month; I hope people will realise how special albums are and the role they play in modern music – none of the artists you all love and listen to would be in the business were it not for the albums they grew up around! Against cost, attention spans and the rise in streaming; if we get rid of albums and accept singles are all that matters then the future of music as we know it is…

 IMAGE CREDIT: Getty Images

IN dire straits.  

INTERVIEW: Ghost Caravan

INTERVIEW:

Ghost Caravan

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THE fantastic Ghost Caravan….

has been talking with me about her latest track, Shine On, and what its story is. I ask the songwriter which artists she grew up around and how her work has developed since the start – she recommends a few rising artists we should get behind.

Ghost Caravan selects a few albums that are important to her; what she wants to achieve before the end of the year; whether there is time for her to chill outside of music – she reveals if there will be tour dates coming up.

__________

Hi, Ghost Caravan. How are you? How has your week been?

Hi! It’s been great. The Toronto International Film Festival just closed in Toronto so that’s been keeping me pretty busy. Between events, playing a gig and seeing films while keeping the rest of my life going, it’s been a whirlwind.

For those new to your music; can you introduce yourself, please?

I’m Shaina Silver-Baird and I am the lead artist on Ghost Caravan. However, there are a whole group of amazing musicians, producers and songwriters that have all contributed to the project. The Ghost Caravan sound is Orchestral Soultronica. G.C. strikes a fine balance between electronic tracks and live, organic instruments creating a sound that is cinematic and invigorating. Think Electronic-Pop with a soulful vibe.

Shine On is your new single. Can you reveal the story behind the song?

Shine On is an explosion of self-celebration. What started as a break up song became an upbeat, feelgood discovery of what it means to truly let your light shine against all odds. Shine On is the re-birth after loss; the dance party in your underwear; the uncontrollable laughter with friends. It’s a call to action. As it says in the lyrics: “Keep yourself moving into the sound, shine on!”

How do you think your work has developed since you started out? As a songwriter; are you always searching for fresh inspiration and adding new elements into your work?

When I started the project, I was so focused on being dark, showing my heartbreak and pain in order to be a ‘real artist’. But, I started to realize we don’t actually need more of that in the world. We need to be uplifted. We need to be able to access our murky depths, but we don’t need to stew in them. I want to empower people. I want to make them dance and make them smile.

So, my music is still about those dark places, but I focus on finding the light in them and celebrating the magic in the world. I’m focused not on the moment of despair, but the moment right after; the realization of your own strength and beauty and ability to move forward. Loving when it is hard… that’s heroic. That’s what I want to represent in my music.

What sort of sounds did you grow up around? When did music come into your life?

My parents loved music, so music was always playing when I was growing up. We listened to a lot of Jazz, Blues; Soul, Pop and Traditional Folk music from the Balkans (my parents taught traditional Balkan Folk Dance…talk about niche!), which I think is where my love for unusual rhythms comes from. Generally, if music makes me feel something or if it makes me want to dance, I love it.

Might we see more material next year at some point?

Yes! The next single and music video, Damn You, will be out by the end of September and the full eight-song E.P. will be available soon after. It’ll also be available on limited edition vinyl at the album release party in Toronto on Oct. 6 (or if you live abroad we can ship it to you!)

What do you hope to achieve by the end of 2018?

I want thousands of people across the globe to be listening to the songs on the T.O. Confidential E.P. I am so proud of this album and all the work my whole team has put into it and I want as many people to hear it as possible. The response to Shine On has been so positive and so many people have told me the song just makes them feel good. I hope the rest of the songs have the same effect.

Have you got a favourite memory from your time in music so far – the one that sticks in the mind?

What comes to mind is not a specific memory, but a specific moment that occurs whenever I’m co-writing a song. It’s that moment when you first hear the full thing all the way through - once you’ve finished writing the lyrics and the skeleton of the instrumentation is there and you can HEAR that it’s going to be great. I’m in love with hearing that potential and imagining where a song can go.

Which three albums mean the most to you would you say (and why)?

The answer to this question changes depending on the year and what I’m going through. But, right now:

Fleetwood Mac - Rumours

It’s classic. It’s amazing. The end.

Bishop Briggs - Church of Scars

This was the soundtrack to my life this year. So much soul. If this album were a colour it would be deep, deep purple and I want to dive into it.

Janelle Monáe - Dirty Computer

Because it is unabashedly female, feminist and it celebrates female sexuality from a female, not a male, perspective. Beyond being catchy as hell, I think it’s a really important album.

Will there be some tour dates coming up? Where might we be able to catch you play?

There will be some more coming up but, right now, we’re prepping for the Vinyl Release Show in Toronto on Saturday Oct. 6 at The Supermarket.

Do you think you’ll come to the U.K. and play at some point?

Yes! It’s definitely a goal.

What advice would you give to new artists coming through?

Create your own opportunities. If you’re writing and singing and playing all the time, even if it’s open mics and small time gigs, eventually you’ll grow and someone will hear you. Get out and play in front of people as much as possible.

 IN THIS PHOTO: MIRIAN

Are there any new artists you recommend we check out?

MIRIAN – she’s an amazing R&B singer who I sang with in my Folk band for five years and she’s doing some very cool stuff.

Laura Tremblay – also a Toronto staple I’ve played with a bunch. Super-fun, soulful Folk/Rock.

Grand Analog – amazing live Hip-Hop. Odario Williams guests on my next single, Damn You, and he is one of the most engaging live performers I’ve ever seen.

Hill Kourkoutis – she’s a producer working with some of the best in Toronto. She produced Shine On and she’s fire. Look out for anything she’s had a hand in.

 IN THIS PHOTO: Laura Tremblay

Do you get much time to chill away from music? How do you unwind?

This summer, getting out of the city to a cottage or the wilderness has been key for me…that and reading. I’ve rediscovered the library this year and I pretty much always have a book on the go. I love losing myself in stories. I was an only child so books are my happy place.

Finally, and for being a good sport; you can choose a song and I’ll play it here (not any of your music - I will do that).

Body by MIRIAN

___________

Follow Ghost Caravan

Official:

https://www.ghostcaravan.com/

Facebook:

https://www.facebook.com/ghostcaravan/

Twitter:

https://twitter.com/ghostcaravan

Instagram:

https://www.instagram.com/ghostcaravan/

SoundCloud:

https://soundcloud.com/ghostcaravan

YouTube:

https://www.youtube.com/channel/UCLSMFYO583O9gOwFYwmKOcQ

FEATURE: You Can’t Please Everyone! Does the Hyundai Mercury Prize Need an Oil Change?

FEATURE:

 

 

You Can’t Please Everyone!

IMAGE CREDIT: Hyundai Mercury Prize/Getty Images

Does the Hyundai Mercury Prize Need an Oil Change?

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ON Thursday evening…

 IN THIS PHOTO: Sons of Kemet (one of this year’s shortlisted artists who are seen, by some, as a ‘token’ inclusion)/PHOTO CREDIT: Pierrick Guidou

we will see who will walk away with this year’s Hyundai Mercury Prize. This year’s list has drawn as much discussion and backlash as any I can remember. IDLES missed the cut last year (for Brutalism) and, although they look dead-certs to make the list next year for Joy as an Act of Resistance, it seems like there is a leaning towards bigger artists and Pop this time around. I guess Noel Gallagher’s High Flying Birds goes all over the place but many have asked whether big artists like Arctic Monkeys, Noel Gallagher and Lily Allen need the award – same goes for Florence + the Machine! The shortlist was compiled from over two-hundred albums and it was narrowed to twelve after months of study. There is no doubting the seriousness with which the judges announced the shortlist but many are noticing certain trends and omissions. If last year’s nominations was geared towards London and albums with a bit more grit and depth – Sampha won for Process but Kate Tempest and Loyle Carner were nominated; both edgy and arresting records. This year is more synonymous with already-nominated artists and those who have been around for a while! Although great albums from Jorja Smith (Lost & Found) are nominated and King Krule makes the list with The Ooz; I wonder whether artists like Everything Everything and Wolf Alice (who have been nominated before) need another nod. I agree the Mercury Prize should be decided upon quality and the best album of the year - but it is always a chance to recognise new artists who can benefit from the prize money and award. Rather than give it to someone who has already won or a mainstream artist; why not recognise King Krule or Sons of Kemet?!

There is always this division and argument when the shortlist is announced and it seems opportunities are being missed. Nadine Shah, nominated for Holiday Destination, seems like a shoe-in to me and she is someone who could really benefit from the prize. Her political and vital album is more powerful and popular than any politician’s message and it gained a score of great reviews. She has not been nominated before and it would really raise her profile – especially as a Muslim woman in music. It would be good if Nadine Shah or Jorja Smith won but I have the feeling either Arctic Monkeys or Florence + the Machine could win. Whilst both albums gained applause and are great works; how are they going to benefit from the Mercury?! I feel the money is irrelevant and the award will not change their direction or make a huge impact. There is this split between those who say the Mercury Prize should be about quality and the best album around and those who feel it needs to go to an upcoming artist who is being recognised because of their potential and to help build their platform. I am not sure how Sampha has been spending his time since he won the award last year but I am sure he is making new material and it has made a big impact. Those who say the award is ‘cursed’ – some artists won it and their careers disappeared – could make an argument against giving it to a popular artist who might be impacted negatively.

 IN THIS PHOTO: Florence Welch (Florence + the Machine) is nominated for High as Hope/PHOTO CREDIT: Getty Images

I remember when the shortlist was announced and a lot of the feedback was critical. Journalists came out and called the list quite soft and populist; not taking any risks and not representing the best of British. Judges like Clara Amfo and Jamie Cullum have made their choices but I feel there will be big questions asked if a mainstream artist wins on Thursday. I feel two things could happen regarding future years. I feel like having one prize and only shortlisting twelves names is going to be limiting and controversial. I wonder whether the shortlist should be even longer – maybe sixteen names – and dividing the categories into a Best Album of the Year and Best Newcomer category. I feel, if you have one award/list then you are always going to court controversy. By introducing another category then you are going to be split between rewarding the best artist/album and those who could benefit from the award. Another problem is those who turn their noses up at ‘token’ artists in the genres of Jazz. Critics always list them as also-rans and put them at low odds – there to make the numbers up and merely show something interesting. Maybe the records artists such as Sons of Kemet produce are not as commercial as Noel Gallagher and will not get the airplay of Arctic Monkeys but should we be asking WHY their inclusion is necessary and how they could benefit from the prize?!

The Guardian raised a point regarding ‘token’ acts and whether judges need to be braver:

“Talk to the acts themselves, however, and a different story emerges. “I don’t care if we’re called a token jazz act if we sell 3,000 more records,” says Shabaka Hutchings, whose jazz group, Sons of Kemet, are among the favourites to win. “And it might be a coincidence, but I’ve noticed things happening since we were nominated this year.” Their gigs are selling out more consistently and the band are getting better stages at events. They’re getting support they don’t get from the Mobos, Hutchings argues, as he has before, and don’t start him on the Brits. “That side of the industry doesn’t care. But this is like a little stamp: you are given a level of validation that reverberates. And if it sells more albums or tickets, it helps subsidise our music and push our scene as far as it can go”.

Past years have given the Mercury to Drum ‘n’ Bass artists (Roni Size in 1997) and Ms Dynamite (Hip-Hop/Rap) won in 2002 for her debut – there have been some good and rare inclusions but it seems the nominations are getting more commercial and less risky. You could argue the nominations of Jorja Smith and King Krule carry on from last year’s nominations of Loyle Carner and Kate Tempest – those artists who are producing something more substantial and original. Neither of the nominated won last year and there is that fear 2018’s prize will go to a chart act. Are we ignoring artists who could get a kick from the award and really do something with it?!

 IN THIS PHOTO: Jorja Smith (who is nominated for her debut album, Lost & Found)/PHOTO CREDIT: Jacqueline Harriet

The Guardian article looks at the early days of the Mercury Prize and why it was established:

“A look at the prize’s early years and the token acts included back then is instructive. The prize was established as an alternative to the Brits, says Trevor Dann, who was a judge from 1995 to 1997, “not to reward success, but to serve and promote the rising stars of British music culture. It was a tough time back then. People didn’t want the British music scene to be forgotten and overrun by the US.” The first shortlist in 1992 did include the Sheerans and Gallaghers of their day – Simply Red and U2 – but Jah Wobble, John Tavener, jazz artist Bheki Mseleku and the former Magazine bassist Barry Adamson lined up alongside them”.

People can contrast their playlists through streaming sites and crossover artists are suffering. Genres like Folk rarely get a look-in and what about Classic musicians?! There are some great current composers but many cannot afford to put a C.D. out and will suffer on streaming sites. A lot of great artists missed out this year – including Shame and Let’s Eat Grandma – and I feel there is an identity crisis happening. Do we need to widen the Mercury so that there are categories that ensure great Jazz and ‘token’ artists actually get recognised?!

 PHOTO CREDIT: Unsplash

I do feel it is hard to please everyone but I feel having a shortlist that is quite heavy on mainstream artists and those who have been nominated before risks calling the validity of the prize into question. The Mercury is that alternative to the Brits and mainstream ceremonies – something that is there to uncover a gem that is making great music but not included in those bigger shows. I feel there need to be rules coming in so that there is a limit on the already-nominated and those who are bigger/not in need of the celebration. If you limit it to say, three, artists who are bigger and ensure there are nominations from Jazz, Folk and other genres – is that a better chemistry and compromise?! I feel it is a good start and do feel an overhaul is needed. Who knows who will be nominated next year but nothing will progress if we keep going down the same road. I hope Nadine Shah wins the Mercury this year this year but, if not, it will be a real shame! Who knows which way things will go but a lot of critical voices are lambasting the Mercury Prize and its worthiness. There are a lot of artists out there, from various genres, who would give their right arm for a Mercury win! If we deny them and do not address the albums/artists we are nominating now (and why) then will the Mercury Music Prize come off as a slightly cooler version…

 IN THIS PHOTO: Nadine Shah (who is among the favourites to win the Mercury Prize this year for Holiday Destination)/PHOTO CREDIT: Getty Images

OF the Brits?!

INTERVIEW: Marlon Chaplin

INTERVIEW:

PHOTO CREDIT: Mike Greggain

Marlon Chaplin

___________

IT has been great speaking with Marlon Chaplin…

ARTWORK: Karly McCloskey/PHOTO: Michael Greggain and Marlon Chaplin/CONCEPT: Marlon Chaplin

about his debut album, The Circle. He talks with me about the album’s themes and whether Toronto and its people/sensations feed into The Circle; when music came into his life – Chaplin recommends some rising artists we should be aware of.

I ask the Canadian musician whether there are tour dates coming and if he has favoured memories from his career so far; what he does to unwind away from music; the three albums that mean the most to him; what he hopes to accomplish before the close of the year – Chaplin chooses a rare gem to end the interview with.

__________

Hi, Marlon. How are you? How has your week been?

It’s a bit of a whirlwind right now. I’m still coming down off a wonderful C.D. release party - packed house, one of Toronto’s finest venues (The Piston). It was a real raver. Two nights ago I shot part of a new music video for one of the album’s songs; I’m in the process of working on a concept for another and just got through booking a slew of new dates with my management. 

So, when I catch my breath, I’ll let you know.

For those new to your music; can you introduce yourself, please? 

Hi world. I’m Marlon Chaplin. I’m a musician, songwriter and producer from Toronto currently in the process of rolling out the album I have a sneaking suspicion we’re about to talk about…

The Circle is your debut album. What are the main themes that define the album?

It’s a piece that deals with ideas of a cyclical nature. It’s life, death and everything in between. I don’t feel a lot of things are black-and-white and a lot of looking at life and your surroundings comes down to perspective: one man’s trash etc. That kind of thing. From the album art, to the lyrics and music itself there’s a healthy amount of Easter eggs for those that want to go digging.

What has it been like recording the songs? Is it cool to be releasing through Möbius Recordings?

The recording process was a fruitful one. Eric Duquette, who plays guitar on the record, recommended the studio/engineer. We cut the bed tracks at Lincoln County Social Club with John Dinsmore in four days as a five piece having rehearsed it for months. Later, horns, strings and various other overdubs were added. It eventually made its way into the hands of Chris Shaw, who’s done brilliant work with Weezer and Bob Dylan. The making of this album was, overall, a carnival of delight.

The record simply wouldn’t exist without Möbius Recordings, so I think the gravitas speaks for itself. 

PHOTO CREDIT: JP Kelly

There are personal offerings on the album but I feel the sights and sounds of Toronto, in a way, play a role. How important is the city to you?

Hmm, that’s interesting. I’d be interested to know in what sense you got that impression. You’re right. There are nods here and there, mainly in the artwork but I’ve lived here my whole life so whatever the sound of Toronto is - and that’s impossible to pin down - I’m sure it bleeds through in some way. 

I’ve never been that songwriter that name-checks locations and whatnot. Some of my favourite songwriters are, but it’s just never come naturally to me. So, my roots/heritage probably leak through more conceptually.

When did music come into your life? Which artists did you obsess over?

Music came into my life, basically, from day one. I remember being very small and wondering who exactly Jo Jo was and what a loner is. The full-on obsession started with The Who. That was my scour-the-earth-for-original-magazines-cut-out-the-pictures-of-Townshend-mid-leap-and-plaster-them-on-my-wall fixation. My influences run the gamut though. Since my teens, it’s been a case of if it moves me then it stays. Genre doesn’t matter to me one iota. 

What do you hope to achieve by the end of 2018?

I want this record to reach a lot of ears because it deserves it. It’s my personal best and it’s what’s needed at the moment. Alternative, Rock; Pop - whatever you want to call it - needs a jolt of electricity and realness and, above all, songwriting. There are a million bands that look the part, sound the part but don’t have the tunes. The tunes are here. It's the recipe for longevity. By the end of this year, I want to turn on as many people as possible. 

It’s always getting a little bigger each day which is much, much better than the other way around. 

PHOTO CREDIT: Raquel Simoes

Have you got a favourite memory from your time in music so far – the one that sticks in the mind?

Impossible to pin one down. In many ways, I feel like I’m still just beginning. But, for today? My first club gig ever. The Rockit (long-since gone). That first hit, you know? It’s always the most powerful. You always remember your first time. 

Which three albums mean the most to you would you say (and why)? 

‘The White Album’ (The Beatles) – The Beatles

Because it told me you can do anything.

Another Side of Bob Dylan – Bob Dylan

Because it told me you can say anything.

Songs for the Deaf – Queens of the Stone Age

Because it told me you can be beautiful and brutal at the same time. 

If you could support any musician alive today, and choose your own rider, what would that entail?

Mai Tais. Hyperbolic chamber; Wayne Newton. 

PHOTO CREDIT: JP Kelly

Might we see some tour dates coming up? Where might we be able to catch you play?

All Ontario dates until November at the moment. Oct. 5th, we’re at the Atria in Oshawa; Oct. 6th at the Foxx in Barrie; Oct. 12th at The Brownstone in Orillia and then it’s homecoming at the Horseshoe on Nov. 21st. 

How important is it being on stage and performing? Is it the place you feel most comfortable? 

It’s hugely important. It’s one of the places I feel most comfortable - that and the studio. My goal in all of this is basic at the end of the day: make people feel how my favourite artists make me feel when I listen to their records and see them live, which is the highest high.

What advice would you give to new artists coming through?

That would depend on what this hypothetical artist wants. Some people just want to make music for their cat. Some want to be Lady Gaga. It’s all good. Just keep your aim true and remember that critics, parents; teachers, whoever are just people with opinions. 

IN THIS PHOTO: THE NAIVE

Are there any new artists you recommend we check out?

You might catch me on a couple technicalities if we’re talkin’ new. But, relatively unknown? THE NAIVE, Jerry Leger and Ada Dahli.

IN THIS PHOTO: Ada Dahli/PHOTO CREDIT: Gárate Photography

Do you get much time to chill away from music? How do you unwind?

The short answer is ‘no’, I don’t get much time away from music. I can’t afford any time away from it. I’m not cut from the 9-to-5er cloth: I don’t work for the weekend. I don’t save up for a vacation in Punta Cana or wherever. It’s just not in my blood. I just make music. 

I saw 2001: A Space Odyssey last night at something called the Cinesphere on 70mm. That unwound me. 

Finally, and for being a good sport; you can choose a song and I’ll play it here (not any of your music - I will do that).

Yes. No Man’s Land by Syd Barret. It’s a murky, dirty and twisted little dirge I just adore

___________

Follow Marlon Chaplin

PHOTO CREDIT: JP Kelly

Official:

https://www.marlonchaplin.com/

Facebook:

https://www.facebook.com/MarlonChaplinOfficial/

Twitter:

https://twitter.com/MarlonChaplin

Instagram:

https://www.instagram.com/marlonchaplinofficial

Spotify:

https://open.spotify.com/artist/7I5zKzb0emNyEMEC82i6qU

Bandcamp:

https://marlonchaplin.bandcamp.com/

YouTube:

https://www.youtube.com/channel/UCjsiBsUq2j3owFKugImtr5A

INTERVIEW: Tiger Mimic

INTERVIEW:

PHOTO CREDIT: Jo Martin-Kelly/JMK Productions

Tiger Mimic

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I have had fun chatting with Bram and Jess of Tiger Mimic….

who have been discussing their upcoming work, Elephant Skeleton EP. With tracks Don’t Cover Up My Eyes and Elephant Skeleton out; the guys chat about their creations and what they want to achieve going forward – I ask how they got together and whether there are any gigs due.

Bram and Jess talk about their favourite memories from their careers to date and how they unwind away from music; how that special chemistry comes together; which rising artists we need to get behind – they each select a great song to end things with.

__________

Hi, guys. How are you? How has your week been?

Bram: Hi, Sam! Doing well, thanks. It's been a good week. We just rolled out our first music video on Friday, which is also my first animation project since I was a kid, so it's been nice to have some new stuff to share. 

Jess: Hey, hey! Doing great, thanks. It’s been a busy week, but the good kind of busy! Didn’t sleep much last night because my heater decided to make the craziest sounds at 4 A.M. - but it’s nice and sunny today, so can’t complain!

For those new to your music; can you introduce yourselves, please?

Bram: Sure! I'm Bram, originally from the States and I play guitar and sing for Tiger Mimic.

Jess: Woot woot! I’m Jess. I sing and play the synth. We’re an Indie-Rock band based in London and the other two members are Ben on bass and George on drums…but they couldn’t be here today.

How did Tiger Mimic get together? Is there a story behind that name, too?!

Bram: I had been writing and performing for a solo project I had going in N.Y.C. when I met Jess and she had her own thing too. Except for a couple joke songs in school, I had never really had any luck writing with other people, so I was surprised to find that co-writing came very naturally with her. After I discovered the joy of co-writing, I basically just dropped the solo stuff. Completely.

Jess: Ha, well. it just sort of happened. We met and started hanging out and, one day, Bram picked up his guitar and started noodling and I just started singing. It started that day and never stopped. Finding a name wasn’t easy at all - I’m sure other bands understand the struggle! A tiger mimic is a butterfly that has evolved to look like a poisonous butterfly (although, it isn’t) so that predators leave it alone. Also, I’m slightly obsessed with my cat (like full-on-crazy-cat-lady-obsessed) and he’s a little tiger mimic. 

You have an E.P. coming out next year. What can you reveal about the songs included and themes addressed?

Bram: There are five songs on the E.P., two of which have been released so far: Don't Cover Up My Eyes and Elephant Skeleton. The other three are titled I Took Off My Body, Salt Woman and In the Distance. Thematically, we have pretty different writing styles. The two songs on the E.P. that I wrote the verses for, Elephant Skeleton and Salt Woman, address very simple, personal things in indirect ways. Sort of bittersweet themes of transition and change just attacked from different angles; a garden falling into neglect or someone just carried away on the wind. There are a lot of nature elements in my writing. 

Jess: Like Bram said, there are five songs and In the Distance, which is the last song on the E.P., is the slowest, moodiest and saddest one - and perhaps my favourite one to sing. In the Distance, Don’t Cover Up My Eyes and I Took Off My Body were started as complete improvisations. Bram started Elephant Skeleton and Salt Woman and I liked them so much I wanted in on them, so I wrote the choruses.

I think people will be able to tell who wrote what at some point! I make up a story in my head and then write from the perspective of a character in the story. My songs may sound very personal, but they aren’t. Bram is a much more poetic writer than I am.

You have already released the singles, Don’t Cover Up My Eyes and Elephant Skeleton. How has the reaction been so far? What is it about those songs that marked them out as early singles?

Jess: Don't Cover Up My Eyes has been out for a couple months now and people have been really supportive. It’s been really nice getting people’s feedback and encouraging words, especially when they’re strangers. We like the way the song starts with just bass and voice and then builds up. We have so much fun playing it we just thought it could be a good introduction to our style. 

Bram: Elephant Skeleton is pretty fresh out the door, but the initial reaction has been good so far and we've been hearing positive things about the video, which is really nice. It's hard to predict whether an 8-bit adventure story about an elephant losing his bones will resonate with your audience but some people have already told us that they're expecting a sequel now, so that's nice to hear. That song always felt like a good mix of what defines Tiger Mimic's sound for me: trading vocal parts, harmonies; narrative lyrics and a lot of different layers as the song progresses.

PHOTO CREDIT: Jo Martin-Kelly/JMK Productions

If I were to travel back to your childhoods; what sort of music would I find in your collections?

Bram: The first records that I would seek out were Beatles records - Magical Mystery Tour was the first non-children's record I really got into. My dad had a lot of really great '60s/'70s vinyls: Hendrix, Doors; Neil Young, Joni Mitchell; Leonard Cohen, Zeppelin - so those were all in heavy rotation when I was growing up. When I branched out on my own, I got into a lot of different things, though. My first concert was Nine Inch Nails, but my second was probably something like Weezer, so I was all over the place. 

Jess: Oh man, I think I liked a little bit of everything. My family and I moved so much when I was a kid that it kind of depended on the countries we were in. In Lebanon, the only music playing on T.V. and on the radio was basically either Arabic music, which I disliked as a kid, or basically just the ‘hit’ Pop songs. There wasn’t much else, really.

My dad had Classical music albums and my mom loved The Beatles so I listened to those quite a bit. I loved discovering new music. I remember, sometimes, we’d buy something from the store and it came with an included C.D. and I just couldn’t wait to listen to it. When we moved to France, my first album was a Bob Marley C.D. and my favourite band for many years was Nirvana.

PHOTO CREDIT: Luis Guillén

There more are and more mixed-gender/unisex bands coming through. I think you get more depth than an all-male band. Do you think having Jess in the band, and providing a female perspective, gives you extra contours and layers?!

Bram: I can say, for me, the music immediately got a lot more interesting when I started writing with Jess. I enjoyed the stuff I did before but there was something homogenous about it, like something was missing. She has a completely different approach to melodies and writing lyrics and it really brings a different energy to the songs.

Elephant Skeleton is a good example of a song where I had a melody and a couple verses and no idea where to go. Jess just immediately had this great melody and that totally made the song for me. Apart from gender differences, though, she also grew up in different places in Europe; lived around different cultures, speaks more than one language and I’m from a little rural town in the U.S. in a state that is known for having a lot of rocks (seriously) - so our perspectives come from almost cartoonishly different sources. 

Jess: Aw. I wouldn’t dream of being in a different band. I love playing with those guys so much and initially I was hoping there could be another female band member so we could be two girls and two guys. But, we all clicked immediately and I love the way it turned out!

PHOTO CREDIT: Jo Martin-Kelly/JMK Productions

What do you hope to achieve by the end of 2018?

Bram: We're pretty new in town, so I think getting out on stage as much as possible and putting on some good shows is the best thing we can do in terms of building an audience right now. We'd also love to connect with other like-minded bands around town who might want to join forces for some cool showcases.   

Jess: Yes!

Have you each got a favourite memory from your time in music so far – the one that sticks in the mind?

Bram: A lot of my music career has been really D.I.Y.; recording in friend’s closets and things like that, so getting into a real studio this year was pretty much fulfilling a lifelong dream for me. Working with an awesome band, an awesome producer and just spending twelve hours a day in a windowless room working on music, it was really incredible.

Jess: I share that same memory. It was really even better than what I had hoped for and imagined. Another favourite memory of mine is several years ago when I was living in N.Y.C. I posted a song on Facebook and sort of forgot about it. Then, a couple of years later, I saw my friend Pauline who lived in Europe and she started singing my song. I realised she knew the lyrics. It made me really happy. I sang the song at our first show in London and she was dancing and mouthing the chorus with me. 

Which one album means the most to each of you would you say (and why)? 

Bram: Oof, tough. Maybe a tossup between Songs of Love And Hate by Leonard Cohen or Zuma by Neil Young

Both have really strong childhood memories attached to them; hearing my dad singing around the house - and then later playing them together when I learned how to play guitar too. 

Jess: Blue by Joni Mitchell

I’m most comfortable when I sing high so, whenever I wanted to cover a song, I had to change the key. I grew up thinking ‘Oh great, I’ll just have to sing Opera I guess (which I did for a while) because I can’t sing any Rock or Pop songs; my voice is just too high’. Then, I discovered Blue and, for once, I was so comfortable singing someone else’s songs, it was in my range! That album helped me not give up wanting to be a singer: it made me feel more comfortable with my voice. 

PHOTO CREDIT: Jo Martin-Kelly/JMK Productions

If you could support any musician alive today, and choose your own rider, what would that entail?

Bram: Tom Waits, I think. He's such a distinctive artist and I think a tour with him would be a completely unique experience. He always seems to pick these really atmospheric, classic venues too which I find appealing. Almost all of the most memorable shows I saw in N.Y.C. were at places like The Apollo or The Beacon. it really feels like an experience in those smaller venues. 

As for a rider...I can probably only think of food things. In a perfect world, there would be amazing Thai or Mexican food along the whole trip. If someone really twisted my arm I could drum up a few other demands, but I'll never be the 'no brown M&Ms' kind of guy. 

Jess: I’d love to open for Björk. She’s awesome. When we eventually go on tour, all I’ll really need is a daily shower. Actually, being the only girl on a tour bus, I’ll especially wish for a daily shower for each of the guys. 

Might we see some tour dates coming up? Where might we be able to catch you play?

Bram: We'd love to get a tour lined up but, right now, we're just focusing on London. We're pretty new in town, so we're still getting our name out there; trying to connect with other bands, meeting promoters etc…so that's going to be our focus for the time being. Next show, though, is on September 26th at the Dublin Castle in Camden, we'll be playing at 8:30 that night. 

Jess: Yay. Hope some of you guys can make it that night! We’ll be announcing some other show dates soon too. 

What advice would you give to new artists coming through?

Bram: Just figure out what makes you different and use it. There are a lot of bands doing the same thing really well but I’d rather hear someone who is a little rough around the edges and trying something new. That’s what moves music forward for me. 

Jess: Do not compare yourself to anyone else. You are who you are and you do what you do. And, be patient: it really takes time to build a loyal fanbase. A lot of new singers that pop up and are immediately extremely famous have a whole P.R. team; managers and a label that is investing a lot of money in them and, of course, that’s really great for them! But, if you’re D.I.Y. then it will take time and it’s okay that it takes time.

 IN THIS PHOTO: Saltwater Sun/PHOTO CREDIT: Rosie Mackay

Are there any new artists you recommend we check out?

Bram: I've been enjoying Saltwater Sun from Reading. They're on tour right now and will be in town the night after our gig, so I'm hoping to make it to that. I don't know how long they've been around exactly but there's also this London band, Weird Milk. I've only heard a few songs so far but they're doing some really interesting work.

Jess: Yeah, cool bands. I like what I’ve heard from Shanghai Blues and the London band Oshens have some really nice songs also! 

 IN THIS PHOTO: Shanghai Blues/PHOTO CREDIT: Ant Adams Photo 

Do you all get much time to chill away from music? How do you unwind?

Bram: There's a lot of Sci-Fi love in the band, so we've done a few movie marathons together at our flat. The Alien series; Predator, things like that. I also read quite a bit, paint a little and just wandering around getting to know London has been great. I was in N.Y.C. for fourteen years so it's fun having a new city to explore. 

Jess: I cuddle my cat; I like to draw; I hang out with family and friends. I love watching movies, so that’s definitely my go-to unwinding thing. The film marathons with the band are great – we watch too many movies, eat too much food and then we lay on the couch like beached whales and complain that we ate too much and, also, when’s the next film marathon? It’s all very, very sexy and Rock’n’Roll. 

Finally, and for being good sports; you can each choose a song and I’ll play it here (not any of your music - I will do that).

Bram: Oh. I’ve been loving what Elza Soares has done with her last couple album. Her song, Banho, is so rad. That’s my pick

Jess: Angel Olsen - Shut Up Kiss Me! Love that song

___________

Follow Tiger Mimic

PHOTO CREDIT: Luis Guillén

Official:

https://www.tigermimic.com/

Facebook:

https://www.facebook.com/tigermimicband/

Twitter:

https://twitter.com/BitcrushedT

Instagram:

https://www.instagram.com/tiger.mimic/

SoundCloud:

https://soundcloud.com/tigermimic/tracks

YouTube:

https://www.youtube.com/channel/UC7qT0D9stk05ym53ziRGwzg

FEATURE: 2015: Colour, Short Movies and Art Angels: The Best Albums from a Remarkable Year

FEATURE:

 

 

2015: Colour, Short Movies and Art Angels

IN THIS PHOTO: Laura Marling/PHOTO CREDIT: Getty Images/Press 

The Best Albums from a Remarkable Year

__________

I am doing a multi-part series…

 IN THIS PHOTO: Grimes in 2015/PHOTO CREDIT: Holly Andres

that looks at the best albums from this century. It may sound random but I am coming back at those who feel the previous century has produced all the very best albums. There is a school of thought that suggests we have long-sine seen the finest from music and the past eighteen-or-so years has been a case of diminished returns. We may not have seen any Beatles-level works of genius but that is not to say the twenty-first century should be overlooked and is not up to the mark. I look at a particularly fine year, 2015, and the variation that arrived from it. Take a look at the exceptional albums laid out below and you cannot say the year was short…

 IN THIS PHOTO: Kendrick Lamar/PHOTO CREDIT: Getty Images/Press

OF wonderful offerings.

ALBUM COVERS: Getty Images

______________

Kendrick Lamar – To Pimp a Butterfly

Released: 15th March, 2015

Labels: Top Dawg, Aftermath, Interscope

Genres: Hip-Hop; Jazz; Experimental

Sufjan Stevens – Carrie & Lowell

Released: 15th March, 2015

Label: Asthmatic Kitty Records

Genre: Indie-Rock

Courtney Barnett – Sometimes I Sit and Think, and Sometimes I Just Sit

Released: 20th March, 2015

Label: Marathon Artists

Genre: Indie-Rock; Alternative-Rock  

Tame Impala – Currents

Released: 17th July, 2015

Labels: Modular/Universal, Fiction, Interscope

Genre: Psychedelic; Pop; Disco; Synth-Pop

Drake – If You’re Reading This It’s Too Late

Released: 13th February, 2015

Labels: Cash Money, OVO Sound, Republic, Young Money

Genres: Hip-Hop; Rap

Grimes – Art Angels

Released: 6th November, 2015

Label: 4AD

Genres: Synth-Pop; Art-Pop

Jamie xx – In Colour

Released: 29th May, 2015

Label: Young Turks

Genres: Electronica; House; Rave; U.K. Garage

Florence + the Machine – How Big, How Blue, How Beautiful

Released: 29th May, 2015

Label: Universal Island Records

Genres: Indie-Pop; Indie-Rock; Soul; Pop

Blur – The Magic Whip

Released: 27th April, 2015

Label: Parlophone

Genres: Rock; Alternative-Rock; Pop; Britpop; Art-Rock

Lana Del Rey - Honeymoon

Released: 18th September, 2015

Label: Interscope Records

Genres: Pop; Dream-Pop; Jazz; Trip-Hop

Beach House – Depression Cherry

Released: 28th August, 2015

Label: Sub Pop

Genre: Dream-Pop

Laura Marling – Short Movie

Released: 23rd March, 2015

Label: Ribbon Music

Genre: Folk; Folk-Rock; Alternative

CHVRCHES – Every Open Eye

Released: 25th September, 2015

Label: Glassnote Records

Genre: Synth-Pop

FEATURE: The Madness and the Mayhem: Twenty Years of Muse

FEATURE:

 

 

The Madness and the Mayhem

IN THIS PHOTO: Muse/ALL IMAGES/PHOTOS (unless credited otherwise): Getty Images/Press 

Twenty Years of Muse

__________

ALTHOUGH they were formed in 1994…

PHOTO CREDIT: Jeff Forney

the band released their first E.P., Muse, in 1998. At that point, Muse were, by their standards, fairly honed-in and controlled. Matt Bellamy, Chris Wolstenholme and Dominic Howard started life as three guys from Devon who cut their first E.P. at Sawmills Studios (situated in a converted water-mill) and released in on the in-house Sawmills label. That E.P. garnered a bit of attention and, by Muscle Museum EP, in 1999, D.J.s like Steve Lamacq were turning their heads and things were starting to get interesting. It was not long before the trio was signed after playing at Woodstock ’99. There is not much inspiration behind the band’s name – they thought ‘Muse’ looked short and good on a poster – but their first album, produced by John Leckie and Paul Reeve (alongside the band) did take them to the next level. Even from the start, Muse were getting people talking and garnering interest in the U.S. Lyrics on Showbiz (1999) dealt with fractious relationships and struggles establishing themselves in their hometown. Songs like Sunburn and Muscle Museum are among the best of Muse’s catalogue but their debut received a smattering of positive reviews. The guys were gaining comparisons to Radiohead and Jeff Buckley – names that would follow them for a while – and Matt Bellamy was establishing himself as a talented, if quirky, frontman. The mad-around-the-edges lyrics and musical histrionics were taking shape and critics noted how Muse were a lot more ragged and wild than many of their peers.

Muse’s eighth studio album, Simulation Theory, is out on 9th November and boasts a neon, futuristic-looking cover. If singles such as Something Human and The Dark Side suggest a band that are toning things down a bit and taking a new direction; the mad and crazy Muse we all know and love is still present. Twenty years after their first E.P. and the guys are unwilling to grow older gracefully and produce something a bit tame. Drones, released in 2015, is a concept album that drew some mixed reviews – I will come back to that later. Simulation Theory is a Synth-Rock album that explores simulation in society and the simulation hypothesis. The album explores fantasy becoming real and the idea that we all just lumps of code in the shape of lumpy sims. The videos we have seen so far are Science Fiction-inspired and there is an aesthetic vibe of the 1980s. Short of mullets and naff shoulder-pads, many of the visual effects and scenes evoke the colour and sensations of that decade. Every one of the eleven album tracks will have a video produced to form a single narrative that focuses on digital containment and escape. Muse were keen to break away from concept albums after Drones and it was suggested they’d release a few single for those not keen on listening to entire albums. It seems like they have changed course and are embarking on something conceptual, narrative-based and flowing – they want people to listen to all the tracks and get a sense of what the album is all about.

It seems like Muse are walking away from the restrictions of the guitar and experimenting more with drum loops and different styles. Matt Bellamy, when speaking with the BBC, explained his relationship with the guitar and new ideas:

"The guitar has become a textural instrument rather than a lead instrument," he told the BBC. "And I think that's probably a good thing.

"What's exciting about this period of music is you can mix classical with hip-hop and rock in the same song.

"As a rock band you're slightly one foot in the past, playing instruments like guitar, bass and drums".

It all sounds very exciting and it seems, twenty years down the line, the band have lost none of their edge and excitement. Even though they are not the whipper-snappers of their early days; they are upping their game and evolving all the time. Their artwork is bright and their sounds becoming bolder and, as I will argue throughout, Muse are far more interesting than your ordinary band! One of the reasons why I wanted to focus on Muse is because they definitely do not walk the same lines as their peers. It is true the Devon-formed band are unafraid to do things differently and document something that nobody else is. Look around and how many groups are tackling things like digital entrapment and simulation theory?! Muse are experimenting with music videos and themes; they are taking risks using new instruments; embarking on another concept but an entirely different look, sound and sensation than Drones.

After their debut album in 1999, the band released three fascinating albums. Reviews for 2001’s Origin of Symmetry were variable. Although it is seen as one of the best records of the year – and retrospective reviews have been more favourable – it did split opinion when first released. Some were giving it five-star reviews and many noted how the band was moving away from Radiohead territory. After only one album, Muse were loading in new content, texture and influences to create something accomplished and unique. Sensual, Classical and hugely ambitious; some reviewers felt Origin of Symmetry was overblown and marked it down. It is the weirdness and excitement of the record that marked Muse out as a band to watch and one of the finest acts coming out of the U.K. New Born is a breathy, edgy and spacey opening that sees Muse shred and rock it out alongside cosmic organ/electronics and a frantic chorus. Space Dementia is as eye-popping and peculiar as its title: Bellamy as an astronaut as sound who was producing something truly out of this world! Micro Cuts sees that weirdness stretched and it is almost impossible to describe the song! There are some forgettable songs – Screenager and Darkshines do not get mentioned a lot – but you cannot argue against the pedigree. Many fans rank this as the best Muse album because of the huge leap and all the imaginations being brought into the music.

Absolution, arriving in 2003, had very apt title. The band felt the word was appropriate given the fact they were making music in a new way and starting afresh. Previous recording sessions were rushed and ill-devised and this was the first time the band was setting proper time aside to make music. Bellamy had not quite stepped out to lead the way – he would go on to be the sole composer and writer soon enough – but the tightness of the band was starting to show. Although Absolution was recorded between various studios and with producers like John Cornfield and Paul Reeve; some true Muse classics were coming through. The promising band of before were now developing into arena-ready titans who were taking their music to new heights. Time Is Running Out and Stockholm Syndrome show the sort of nervousness and paranoia they would exploit in later works; writing beyond ordinary love and cliché themes. The latter track and Hysteria see Muse step into gnarly and finger-shredding territory whilst the piano was becoming a common trait in their music. There are not many bands today that use the piano in their music but, gifted with a very talented player in Matt Bellamy; songs like Butterflies & Hurricanes became symphonic, sweeping numbers that take the breath away. Maybe the last few numbers of Absolution are not as memorable as the standout cuts – it is quite too-heavy as a record – but it is a big leap from Showbiz and, in some ways, Origin of Symmetry. Absolution is a move sideways from Origin of Symmetry but, again, proved the band were unafraid to mix the slightly bizarre and eccentric with the conventional.

2006’s Black Holes and Revelations saw Matt Bellamy taking sole authorship of the work and, with it, really cranking up the tension. With its dystopian undertones and lyrics that looked at aliens, political corruption and revolution; it is another sign of Muse covering original and much-needed topics. They were still not your band who spoke about general anger and heartache – looking at a broken world and what was happening around them and filtering it through their exceptional spectrum. To be fair, there are a couple of conventional love songs (Starlight among them) but the more interesting moments are when the band reinvent themselves (again) and go completely bananas! Take a Bow kicks things off and talks of representing for sins and a sense of pending doom. It is more anxious and progressive as anything Muse had previously thrown out and, on Supermassive Black Hole, more sensual, slinky and Prince-like – one of their classic cuts and proof Muse could mix the mature and conventional with something a little quirky. The clash of the sensitive and thought-provoking Soldier’s Poem sitting alongside (or very near…) the razor-sharp and relentless Assassin – the band at almost Heavy Metal-levels of pummel and attack – shows they were brave when it came to programming and track sequencing! City of Delusion brings in Flamenco-like swagger and horns; a terrific full-stop ending and another great revelation from the band.

If some critics felt Muse should calm it and show some level-headed direction; they were shocked at the blistering finale, Knights of Cydonia! The track must rank alongside the very best closing tracks from any album! A song that urges people to fight for their destiny and take control; it is a riotous, galloping epic that finds Bellamy at his strange best. It is a cross between a spacey Prog-Rock song and a Western. The outro and closing moments are amazing! The riff and sense of spirit captivates you and the chorusing of “No one’s gonna take me alive!” is infectious. The six-minute song is another one of those Muse classics and shows they could easily mix humour and the grand with something base and simple (the riffs and composition are not as bat-sh*t-mad as the video or lyrics). Some critics felt the record was overblown and Black Holes and Revelations was a misfire. It was nominated for a Mercury Prize and was a big commercial success. The band embarked on their biggest-ever tour and played all around the world. As I shall discuss; Muse’s sets and gigs were becoming bigger and more sensational by the album! The Resistance (2009) and The 2nd Law (2012) led Muse to calm it down a bit but they were still interested in what was happening around them. A more Electronic and experimental album than Black Holes and Revelations; The Resistance features the bombast of Uprising with the closing suite of ‘Exogenesis’. Almost a Classical suite that shows how Muse, again, were not going to be limited and defined…

Bellamy shows his chops as a composer and strings together one of the band’s most spectacular realisations – even if some critics felt the three-part finale was a bit daft, unfocused and forgettable. A tighter and tauter album that some of their previous work, the Queen-influenced United States of Eurasia (+ Collateral Damage) is delightful.  The 2nd Law refers to the second law of thermodynamics and the album features a new range of influences – from Paul McCartney and Wings to David Bowie. Chris Wolstenholme takes his first writing credits with Save Me and Liquid State – talking about his battle with addiction and the personal problems associated. Some critics did not like the new direction the band were taking and the themes they were exploring. Perhaps there weren’t the same bonkers-mad songs of past albums but that same fascinating and epic Muse remained. Reviews were generally good but The Telegraph seemed to assess The 2nd Law best:

“More interestingly, for a proggy act, there’s a healthy dose of funk, making this a rare example of danceable prog rock. The disco feel of Panic Station – which nods at INXS’s Suicide Blonde, Queen’s Another One Bites the Dust, David Bowie’s Fame and Prince’s Kiss — ends up sounding a bit like a Scissor Sisters number.

Muse’s rather absurd spaceship may be welded together from bits of other acts – but it still flies”.

When speaking with NME about the release of Drones (2015); Matt Bellamy reflected on the way we are being surveyed and the atrocities of modern warfare. He gave his thoughts on what was lacking from modern society:

“Empathy seems to be seen as a weakness. We condition people to withdraw it to succeed. But really, it needs to be re-seen as a strength again if there is to be any kind of hope in the world”.

Whereas albums like Black Holes and Revelations was about pushing things to the limits and employing lots of different sounds; Drones seemed to represent something simpler:

“But by our standards, it is back to basics,” Dom Howard points out. “Yeah, it’s layered and bombastic, but the start of that process was very different to how we normally do it. For the first time, he three of us in a room, eyeballing each other again. I think on 2nd Law, producing it ourselves, we spent so much time in the control room that we lost sight of ourselves as a band”.

There were a lot of good reviews for Drones but some were less keen. There was a concern the lyrics were a little repetitive and uninteresting; not as sophisticated and cutting as political bands like Rage Against the Machine – not as varied and appealing an album as what had gone before. The Guardian had their say:

“It’s the heaviest the band has sounded in some time, and exuberant enough for you to ignore Bellamy’s clunky lyrics. But Drones veers badly off target in its final third, most pointedly in overindulgent chamber suite The Globalist, which veers from Morricone to Metallica, and concludes, bewilderingly, with an adaptation of Elgar’s Nimrod”.

Perhaps it is a more slow-burning album than a lot of their work but it was clear Bellamy was still fascinated with what was happening around him; conspiracies, deceits and atrocities. That value and anger that goes into the songs appealed to me and I feel Drones has some of Muse’s chunkiest riffs and most interesting songs. It was another reinvention from the band and shows how, unlike a lot of their fellows, they were always keen to keep moving and exploring new ground. The touring that happened around the album, again, upped the budget and sense of spectacle. Go to one of their shows and you can see everything from drones and flying saucers to huge light spectacles and a dazzling stage set-up. A lot of bands like to go for something simple and focus on the music but Muse can bring carnival and party and still produce blistering live moments. They are one of the best live bands around and always bring something insane! Long-gone are the days when Prog-Rock bands used to have those crazy sets and it was almost like going to a weird play or some sort. You never know what you will get from Muse and that seems to be part of their charm. Each album is a completely new beast and has its own personality and skin. They have been going for twenty years (in terms of recorded and released material) and are not showing any signs of slowing down! Keep an eye out for Simulation Theory on 9th November and see where the chaps head next! They have cemented an incredible career and it looks like they have ambitions to go for a lot longer yet. Not only are they one of the best live bands in the world but listen to their material and there is nobody on the…

SAME planet as Muse!

INTERVIEW: Future Jr.

INTERVIEW:

PHOTO CREDIT: Jackson Todd

Future Jr.

___________

I been speaking with Future Jr.…

about his new track, Forget About Me, and what its story is. The Brisbane-born artist discusses his start in music and what he grew up listening to; whether there are going to be plans and tour dates coming up – he recommends a rising artist to watch.

I ask which albums are most important to him and why he decided to move to Austria; which artist he would support if he had the chance; whether he gets time to chill away from music – Future Jr. ends the interview by selecting a cool song.

__________

Hi, Future Jr. How are you? How has your week been?

Hey! I’m doing really good thanks! How are you guys? 

For those new to your music; can you introduce yourself, please?

Of course! My name is Matt. I’m twenty-four-years-old, from Brisbane, Australia and I make music under the name Future Jr. 

What is the story behind the new single, Forget About Me? Was it exciting hearing it premiered on Zane Lowe’s Beats 1 show?!

It’s really just a little glimpse into my life. I recently had a period of my life where I had (wrongly) convinced myself I had to choose between my dreams of success and love. I’m a really driven person and it’s not often that you find yourself surrounded by people who understand that drive and the sacrifices that you have to make in music. So, it’s really just an open letter; a P.S.A. to say ‘I hope you know what you’re signing up for’. 

You were born in Brisbane and raised around music. How important was your family home regarding your choice of career?

It’s been super-important for me. I grew up in a really creative household. From a very young age, in order to keep me and my siblings entertained, my mum would gather us together and play some simple chords on guitar and encourage us to write our own songs and melodies to match the chords. It was little things like that - it happened all the time. I was lucky enough to have parents that encouraged me to chase what I was passionate about.

Which artists struck your ear at a young age?

I probably had less of the typical music education than most kids. I never really remember listening to the radio very much as a kid. I grew up in church, so Gospel and inspirational Pop artists like Amy Grant and Michael W. Smith were always playing in the background. The first C.D. that I bought myself though was a Hip-Hop group called DC Talk. I latched onto it, because they used these huge, loud drums samples typical of '90s Hip-Hop. It was the first album I just absolutely rinsed. 

PHOTO CREDIT: Jackson Todd

How important was it moving to Vienna and spending time there? Was it an eye-opening move for you?

I think, without me knowing, it was super-foundational. My whole family moved over when I was seven. It gave me a taste for adventure. I grew up in an environment where my whole family were experiencing new things together. It’s also a city that’s drenched with so much quiet beauty and history - the birthplace of some incredibly important historical musical figures, like Mozart for example.

It’s a city that understands art and encourages the pursuit of it. Looking back, it was invaluable. Vienna never yells at you like a city such as New York would. It just quietly whispers and encourages you to create something. I think that’s the part of Vienna that will always stick with me.

Might we see more material next year at some point?

DEFINITELY. Lots of it. 

What do you hope to achieve by the end of 2018?

I’m actually about to head off on a big trip to L.A., N.Y.C. and London for a few months. It’s going to be a lot of songwriting and making art! I’m just so excited to start creating the next era of Future Jr. and write the next part of the story. 

Have you got a favourite memory from your time in music so far – the one that sticks in the mind?

I remember when I got the final masters back for my first E.P. It was late, I had just got back to my car after getting dinner with some friends and the email came through. I immediately plugged in my phone and sat there listening. It was the most surreal experience for me. Sitting there in an empty carpark, I was listening to the soundtracks of one of the worst years of life. After I finished listening, I sat there in silence for a bit then finally drove out of the carpark. It was one of the most still and quiet moments of my life. I left all the troubles of that year in that carpark. 

Which two albums mean the most to you would you say (and why)? 

Bon Iver - Bon Iver

I had discovered Bon Iver in my last year of high-school - and the year after he dropped Bon Iver. It was the soundtrack to my coming-of-age and continued to be a pillar for years to come. The themes in that album about finding your identity had a huge impact on me. 

Phoenix - Wolfgang Amadeus Phoenix

This was the soundtrack of high-school for me. This was the album my friends and I would blast with the windows down on our way to the beach. I still remember hanging out with window of my friend’s beat-up Ford Lazer screaming out the lyrics to Lisztomania as loud as I could.

If you could support any musician alive today, and choose your own rider, what would that entail?

Haha, oh man! That’s a huge question. Right now, I would say probably someone like Lorde. I love what she’s doing and what she’s done from day one. She creates this music that’s authentic and uniquely her but still has these anthemic Pop hooks. I feel like the crowds there would also probably be willing to have more of a heartfelt experience at those shows. In saying that, maybe a bit of a guilty pleasure; supporting someone like Bieber would be pretty amazing as well. Haha.

I don’t even know what I’d ask for my rider. Haha! I’m not the most extravagant kind of person. I’d be content if there was just fresh pizza every night of tour. 

Will there be some tour dates coming up? Where might we be able to catch you play?

There are some tasty things in the pipeline at the moment. It’s a bit of a surprise. I guess we’ll just have to wait and see.

What advice would you give to new artists coming through?

Figure out early why you want success. Figure out why you’re making music. If you’re in this game for riches and fame then you’re in the wrong biz, kid. Fall in love with creating art for the sake of creating art, not for the sake of making money. 

 IN THIS PHOTO: No Mono

Are there any new artists you recommend we check out?

Wow, that’s so hard. There’s so many at the moment! My top new recommendation would be No Mono. They’re some local lads from Australia. They’re creating some incredibly intricate and soulful music. Picture James Blake crossed with Jamie xx.

Do you get much time to chill away from music? How do you unwind?

I love the beach. It’s my way to switch off my brain; lying in the sand with the only sound being the waves crashing. That is my sweet-spot. It also always fills up my inspiration tank. If I’m ever feeling dry, I always head to the beach. 

Finally, and for being a good sport; you can choose a song and I’ll play it here (not any of your music - I will do that).

I’ve been slamming this track since it dropped. Some serious early-2000s R&B/Pop vibes: Girls Don’t Cry (ft. Maribelle) - Young Franco

___________

Follow Future Jr.

Facebook:

https://www.facebook.com/futurejr/

Twitter:

https://twitter.com/futurejr_

Instagram:

https://www.instagram.com/futurejr_/

Spotify:

https://open.spotify.com/artist/6VcDfoZ0pgSOd5rtQDmbo0

TRACK REVIEW: Denton Thrift - First Light

TRACK REVIEW:

 

Denton Thrift

First Light

9.1/10

The track, First Light, is available via:

https://soundcloud.com/dentonthrift/first-light

GENRE:

Electronic

ORIGIN:

Leeds, U.K.

The E.P., Sight, is available via:

https://open.spotify.com/album/42XvDlhZTVCNqC4LA4Wuuy?si=o-Ai3O5yQM2vmzvIAFAGFA

RELEASE DATE:

17th August, 2018

_________

I am scaling reviews down in the coming weeks…

to focus more on bigger acts and other sides of music but, right now, I am looking at a few different acts who produce interesting music. I have found a lot of acts coming up for review are saying very similar things and are almost the same on paper which, for a review as deep as what I do, it is incredibly hard to write much and it has led me to look at the mainstream or artists that I know can produce something different and unusual. That is not a shot at the artists coming up for review and there is plenty to love about Denton Thrift. That said, I will be wandering over old ground because, being based in Leeds, it gives me a reason to look at the city again and duos that come together from rather different backgrounds; E.P.s and, again, why they are an important form of music; similarities in music and why there are common themes/sounds coming up; artists who have great potential and certain sides to look at; a bit about compositions and where Denton Thrift can go. Whilst I am covering old words when I come back to Leeds – it is an interesting city to look at but have reviewed a load of artists from here – it is worth noting a consistency and why the place is synonymous with interesting new music. I keep talking about the Londoncentric scene but it is worth revisiting. You get a load of personality and colour with London but I love the accents and variations you get from places like Leeds. The city seems to be teeming with fresh talent and artists that do things in a rare way. Years ago, I reviewed an artist from Leeds who played Electro-Swing and, more recently, someone who produces a mix of Nick Cave and Tom Waits. Whilst London and bigger cities can provide that sort of range; there are fewer limits in Leeds and a great sense of freedom.

What amazes me is how the city keeps on stamping out artists who have a rare mindset and do not follow the pack. I have not seen a place that has such a strange spirit where its musicians venture into unusual avenues. That is not to say Denton Thrift are bonkers and mad as crows but they definitely do things their own way. I feel there is a lot more to come from them and I feel they will remain in Leeds. The North is a fascinating place for new music and I feel the finest of the current breed will emanate from here. I think it used to be the way all the better northern artists hailed from Manchester but there is a definite case for somewhere like Leeds. A lot of its native venues are remaining open and many of the locals are ensuring the live music scene is thriving and sustainable. Leeds is, like any city, a bit pricey but a lot more affordable than areas like London. People are keen to explore the cool venues in Leeds and that means artists have places to play and do not feel the need to migrate. This is all positive and you can tell there is a real sense of identity and togetherness in Leeds. Because of all these factors, the music seems to be a lot more expansive, adventurous and original. Who knows where the city will go in the coming years but I am confident many of the venues will remain and local artists will continue to grow. I also hope the media take more attention of Leeds and reflect the great music that is coming from there. Over the years, I have followed what is coming from there and how artists approach older styles of music. Denton Thrift have a modern cut but there are classic stripes and older elements that weave into their sounds. Although Denton Thrift are based in Leeds, they hail from different parts of the world.

Their name comes from a year they spent in Denton, Texas and the duo hail from Devon and Northern Ireland. It is a rather scattershot and random togetherness you might think. The pair met whilst at the University of Leeds and it seems like their common ideals and desires have fused into fantastic music. I am getting more excited about duos as opposed to bands because you have that closeness and connection you do not get elsewhere. Music is at its stronger when those performing it are on the same page and you can feel that sense of understanding. A lot of bands are tight but I get the impression some of them are not communicating and there are tensions. If we look ahead, I feel bands will continue to inspire but there is a greater place for duos. Right now, the best albums in the mainstream are coming from solo artists but duos are starting to make a case. Most of them are in the underground and, in years to come, the exceptional music they make will grab more ears and become more influential. As opposed the solo artists, duos can produce a bigger and more varied sound, I feel. You have the option of providing something gritty and big or, in the case of Denton Thrift, music that is more emotive, atmospheric and detailed. It is going to be interesting where the Leeds-formed duo is heading and where they are going to base themselves. I have talked about Leeds and its importance but, in truth, they could head anywhere and find success. I hope they do settle for a while but, with critical acclaim behind them, it seems Denton Thrift have the chance to travel the world and bring their music to new nations. The music industry is a tough and competitive landscape that is impossible to gauge but I know how popular duos are right now and how well they can do.

It is all about that central connection and a sort of ersatz relationship that makes the music so together and intuitive – a lot of those in duos are in a relationship, in fact. In a duo, there is nowhere to hide really. You cannot stand behind a band member or retreat into the shadows. I have also spoken about E.P.s recently but, again, I need to bring them up when looking at Denton Thrift. Their four-track E.P., Sight, is full of different stories, life and fascinating sounds. It is worth noting why many new artists are producing E.P.s as opposed an album. Albums are obviously very expensive and it can be quite a challenge putting them together. The album market is not as strong as years past and people are more interested in singles. I worry that modern artists will struggle to sell albums and many do not have the patience to sit through there. This year has provided some immense albums but I wonder how often we will listen to them and how many other albums have been forgotten about. E.P.s are that useful bridge between singles and albums. I love albums but I feel the appetite is not what it used to be. Singles are great and give you that burst but you can say more with E.P.s and it provides a lot more flesh and bones. Maybe this is something the mainstream will take to heart. Might we be more accepting and willing to listen to albums if we had the gateway of E.P.s? I feel they are an accessible and nice way to hear more from an artist and you do not need to commit to the album. There are fantastic options in the underground and new music and I have been dipping into Denton Thrift’s E.P. lately. Many might say it is hard to distinguish between various duos in the same genres producing E.P.s and how do you separate them? There is some truth there but Denton Thrift inhibit their own world and you can hear their unique D.N.A. in every track.

One can hear the closeness of the members and one knows each song means an awful lot. Again, like a lot of artists lately, mental-health is back in the spotlight. There were years in music when you never heard about subjects like mental-health and it was seen as stigma. The music you get is emotive and open and Denton Thrift are unafraid to discuss deeper and darker subjects. Many of us suffer mental-health issues and it is important musicians document this and provide their own assessment. I am keen to see whether mental-health becomes a bigger part of the musical landscape and how the subject grows. As I said, it is becoming more common in music and so many artists are tackling the effects of poor mental-health and how they impact relationships. Many might say it is a rather depressive subject to cover but it does not have to be. Denton Thrift bring melody, light and a sense of optimism to the area. They are not producing music that drags you down and makes you want to hide away. They investigate, on their E.P., how it can be hard to reflect and have any sort of inner-calm when mental-health impacts on relationships. I guess a lot of people can relate to this problem and, through the music, there are answers and sympathetic tones. The media is reacting to their music and note how bold they are compared with their earliest work. Each new single seems to be a big step and you can hear the confidence grow. The best music around needs to have a balance of darkness and light and, I feel, have some form of education and information. If you cannot relate to what is being said or do not take something new away from the music; how likely are you to come back? Artists who remain in the mind are those who understand this and ensure their music ticks these boxes.

I mentioned how I am moving away from reviews in a bit and that is simply because of the familiarity. As my reviews are long and I like to tackle themes around an artist/track; it is becoming harder to find new angles to explore as so many artists are producing similar themes/sounds. I feel Denton Thrift are among the last remaining artists in my diary where I can find fresh insight and places to explore. I get a lot of submissions from British artists and those who play in the same genres; the same sort of lyrical themes and, after a while, it gets impossible to find fresh things to say. I long for an explosive Hip-Hop artist/band or a cool Soul female – something that I have not heard for a while that gives me a spark. You might say my blog attracts a certain type but my output is varied and I never exclude a genre. Denton Thrift, as I mentioned, are the last of the more original acts I can explore from different sides and say something new. I am impressed by their music and intrigued by their backstory and, if anything, it would be nice to see more come from them. The photos I have included are great and well composed but I wonder whether a new photoshoot is coming from them. They look great on camera and have a clear idea of how they want to look. I feel another set of snaps could bring new people their way and show another side to their personality. I’d also like to know how they met at the University of Leeds and which artists drew them together. You can hear the odd influence in their sounds but I wonder what they grew up around and whether there are particular artists that bonded them. I feel there is a lot more to explore from Denton Thrift and they have unique edges that can come to the fore.

Before I go onto to look a track from their new E.P., I wanted to look at the compositions and why they stick in the mind. I mentioned how duos have variation and a flexibility you do not really get from a solo artist. You can get fascination from a solo artist but how much variety can you find? They are only one person and, whilst you get some great composers, I feel there are constraints and it can be difficult to push things too far. Duos have that extra member and, as such, there is that chance to add more texture, weight and eclecticism to the music. The compositions of Denton Thrift have been commended because they have so much life and expression within. You are not listening to two people who are lazily stringing songs together and have not thought of the music. I long for artists who take care to really craft music and ensure they augment the lyrics. One might feel songs of struggle and a lack of self-reflection might be mirrored with rather tense and dour sounds. This is not the case with Denton Thrift. They bring their lyrics to life but their music seems to exist in its own world. Emotions, visions and stories burst from the music. It is wonderful stepping inside what they do and swimming in the music. I feel this is one of their biggest assets. So many duos are focused on lyrics and vocals but do not expend as much energy when it comes to compositions. Listen to the songs on Sight and you get a new experience and story with each track. I love what they are putting out right now and I am excited to see where they can go from here. I chose First Light to review because it stands out strongest but, to be fair, you can find much to love about any track from the E.P. It is the way you can close your eyes and let the music get inside the head that really stands out. I feel so much modern music lacks a soul and you can feel rather detached from the whole experience. Denton Thrift ensure the listener is treated to something wonderful and allowed to paint their own pictures.

I wonder how much artists really think about the complete picture and whether compositions are heavy in their mind. By that, I worry there is a need to produce something rushed or not understand how much nuance and joy you can bring from a well-thought-out composition. Denton Thrift provide a complete experience that hits all the senses and I am not surprised they are getting a lot of love. Critics are noting how Denton Thrift are growing and they seem to up their game with each track. You get a different skin in each number and, when collected together on an E.P., nothing sound out of place or foreign. It is a whole story and you will struggle to find your favourite track. A lot of E.P.s have a clear standout and maybe there is a weak track in the pack. Denton Thrift have ensured their E.P. is a more rounded, quality-assured and balanced work so that you are drawn to each song and nothing comes across as half-formed or unimportant. Maybe that is because of their bond or the way they want to tell a story with Sight. In any case, they are getting under the skin and turning many heads. At this rate of progression and realisation; I feel they have a very long future and it will not be long until they are playing some big stages. I think their music can get even bigger and, when taking it to the stage, one wonders how emphatic, swelling and sensational the music can sound. The duo is promoting their E.P. at the moment but I feel they are already looking ahead to more material. You can hear the hunger and desire in their voice. I feel I have covered a lot of ground regarding the duo and it is time to move on to a song of theirs. I wanted to look at First Light because it is getting a lot of heat and it is really interesting to hear.

I talked about compositions and how few artists genuinely think about how the listener will react. First Light seems to project so many different sights and emotions within the opening seconds. The delicate and electronic notes are sparse but there is a rhythm to them. The smokiness of the combined vocals and the way the words are projected means you get a real sense of emotion coming through. The composition mutates and there are backing noises and new flecks that add dynamics and suggestions. One can hear a lot of The xx coming through. This is not a bad thing but that is the first act I thought of when listening to the song. The male-female vocal style (breathy and sullen but with plenty of engagement) and the compositional style reminded me a lot of the early work from The xx. Many might see this as a problem but, if anything, it is s strength from the duo. You get a real sense of who they are and there is not any need to copy what is already out there and piggy-back off of another artist. Denton Thrift talk about falling down and a sense of struggle but one of the only criticisms of the song is a lack of decipherability in some areas. I have noted this a lot with artists but, when lyrics are projected a certain way, you do risk losing clarity and intelligibility. One gets a lot of seduction and passion from the vocals but some of the words are hard to detect. You can pick up a few bits here and there but, early on, it is a little hard threading the story together because words do come apart. Maybe this is impossible to rectify given the vocal style of Denton Thrift but, actually, you can piece together all the elements and narratives from the composition. Beats crackle and there are electronic flickering. So much is working away and the composition itself does so much work. Your mind races as you keep up with what is happening and you start to imagine little scenes.

The vocals become clearer and more focused when you head into the next verse. I get the impression things are falling apart in a relationship and there is a coldness coming through. In terms of the vocals, one gets a real hit of Soul and silkiness. It is a luscious and smooth deliver that packs a real punch. I got impressions of two sweethearts on different pages and things starting to crack. You never get a sense of anxiety and stress when listening to the song. Everything is delivered with a real calm and you settle into the song and are free to wander. That need to approach the light and find something more positive is evident. Maybe things have got bad and you get a feeling tense emotions have frayed a relationship or poor mental-health has impacted things. As you are in the darkness and the subject is struggling to find footing; there is that call to step into the light or start afresh. This is my interpretation but the reality might be different. Elements of the East – in terms of the electronic sounds and how they resonate – fuse together with stiff beats and those luscious vocals. I am always attracted to that composition and how it evolves and shifts. The duo have taken care to put so much into the music that you can listen to the composition alone and feel addicted and intrigued. Again, as things start to develop, some of the lyrics get lost again but it is never too much of a burden. Music is about the whole experience and what you get from it. I feel First Light is about a sense of rebirth and the promise of the morning. You can hear how there are struggles in a relationship and personal crisis. It looks rather bleak in places but that spirit of betterment and improvement shine through. My abiding takeaway is turning something bad into good and making some important steps. It is a great song from Denton Thrift and the standout from their Sight E.P. There are a lot of duos out there but Denton Thrift are among the most inventive and interesting out there. Many eyes will look their way and see what they can come up with next.

I wonder where Denton Thrift can go and what they have coming up. Maybe the remainder of the year is going to be taken up promoting Sight and seeing how far they can spread it. It has been out for a few weeks and is picking up some good reviews. We all know how hard it is to succeed in music and how many others are sort of doing the same thing. That is why I have decided to change review tack and take a breather down the line. It is the case where artists are almost identical on paper. Most reviewers only cover the music so they are not worried about the artist’s location or their story. I like to put more depth into things and feel artists need to stand out and not be the same as everyone else. In terms of sounds, I am getting a lot of the same thing and few acts outside the U.K. It is hard starting to write because I don’t know what to say and it is hard to flesh a review out. Maybe this will change and I can discover something fresh but Denton Thrift have provided something genuinely new for me to talk about – even if I have had to re-explore Leeds and look at mental-health in music. I feel talking about something that is making the news and standing to get more focus is really important. Their future material will look at other things – it would be exhausting and a little boring if they repeated themselves – but they have created an E.P. that explores a challenging subject we all have exposure to. In a sea of duos that are all vying for attention and want to be taken seriously; the Leeds outfit are equipping themselves for a long reign. I know they will be hitting the road – keep up with all their social media feeds – and I wonder whether they are looking ahead to next year and where they might head. I think they have the promise of doing international gigs and it will be interesting to see how their music translates overseas. It has been great getting involved with their work and I shall keep an eye out and see where they go next. If you want to discover something that has its own voice and will stay in the mind; have a listen to Denton Thrift and explore the E.P., Sight. First Light is a fascinating offering that I wanted to single-out but each of the E.P.’s tracks is worth exploration. Their start and present is interesting and worthy of attention but I feel their future moves will be…

EVEN more interesting and exciting.

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